


Through My Brother's Eyes

by katehalljordan



Category: Sherlock (TV)
Genre: Gen
Language: English
Status: Completed
Published: 2014-12-06
Updated: 2014-12-06
Packaged: 2018-02-28 07:54:20
Rating: General Audiences
Warnings: Creator Chose Not To Use Archive Warnings, No Archive Warnings Apply
Chapters: 1
Words: 32,116
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/2724599
Author URL: https://archiveofourown.org/users/katehalljordan/pseuds/katehalljordan
Summary: <blockquote class="userstuff">
              <p>THE PERSONAL BLOG OF Dr. John H. Watson<br/>It’s been quiet around here this past week and Sherlock is getting a bit antsy. Remarkably, he has matured quite a lot in recent months and hasn’t been particularly mean when he’s idle, that I’ve noticed, but I think we need an intriguing case soon to keep him happy.<br/>I wouldn’t even had known he had parents except for the packages he’d get from New Zealand at Christmas and his birthday. Don’t even ask. He’s threatened me bodily harm if I disclose his birthdate, and I believe him.<br/>So it was by accident that I found out about his old friend Geoffrey. And that was only because he’d died; and Sherlock was determined to find out who killed his old friend and why.<br/>In the middle of all this chaos, his parents show up! I came back early from a trip and they were in the flat.<br/>We followed the murderous trail to Spain and ended up going back there several times. And then Sherlock realized that he himself was responsible for the death of his friend – in a way.<br/>Sherlock solved the case and put away some very bad men with the help of Geoffrey’s sister Tilly and me.</p>
            </blockquote>





	Through My Brother's Eyes

This piece is written as a script.

THE CASE  
An old friend of Sherlock’s is dead. An autopsy shows that he has died of a drug overdose. Sherlock found, while talking to the coroner, that his friend is one of quite a few unclaimed/unknown persons who have died from the effects of some strange designer drugs. Sherlock is on the case to find who is killing the homeless addicts in the tunnels with toxic drugs and why.

CHARACTERS  
SHERLOCK HOLMES  
DR. JOHN WATSON  
MYCROFT HOLMES  
GREG LESTRADE  
MOLLY HOOPER  
MRS. HUDSON  
MIKE STAMFORD  
ANDERSON 

NEW CHARACTERS  
GEOFFREY ROGERS – Recently deceased. Friend and former flatmate of Sherlock. Brother to Matilda “Tilly”

MATILDA “TILLY” ROGERS – Geoffrey’s younger sister

MICHAEL HOLMES – Sherlock’s father. He is the UK Trade & Investment Director to New Zealand, war hero and member of one lesser line of noble blood

MAGGIE HOLMES – Sherlock’s mother. She is the beloved children’s author Margaret Tisdale, known for her “Charlie and Oliver” adventures, a series of 23 books that follow the clever and often-funny adventures of Charlie and his younger brother Oliver and their travels around the world. The brothers always manage to get themselves mixed up in an adventure in each book and find their way out of all the twists and turns

NEVILLE – Handicapped man who helps Sherlock now and again. Hangs out near a certain tunnel entrance

GUS HAGGERTY (the younger) – A minor major player in the Haggerty gang

WALTER PATTON – Gus’ underling and best friend

STEVE – Coroner at St. Bart’s

SEAN AND DANNY SULLIVAN – Brothers and minor no-goodniks. They work for Gus, the younger

CHEMIST in Spain

and VARIOUS MINOR CHARACTERS

INT. CLANCY’S PUBLIC HOUSE - SNUG – DAY – RAINING

WALTER and GUS are sitting together in the dimly lit snug.  
GUS is a gruff man in his mid-40s. He is a tall stout Irishman with a ruddy complexion, dressed in a very nice suit and tie, but he doesn’t wear it well. The shirt neck is tight on him and the tie is loosened across his throat. He is educated.  
WALTER is a tough man, but submissive to Gus. He is in his early 50s, looks like a college professor. He is tall and lean. He is smart, but not educated.  
There is a smattering of other customers at the bar and at a table a distance away from the snug. WALTER is shuffling papers and looking concerned.

WALTER  
That lab has gotten sloppy.

GUS  
Which?

WALTER  
(looking through the paperwork)  
Almeria. The SALIGIA lab.  
Lousy record keeping. Messin’ up the doses.  
They’re causin’ us some big problems up here, Gus.

GUS  
The Sullivan boys?

WALTER  
Indeed.

GUS  
Get them back here now. And then get rid of them.

JUMP CUT TO:

EXT BAKER ST. – DAY - RAINING

POV: Heavy raining on sidewalk.  
Woman’s heeled knee-high dress boots, dodging puddles on the sidewalk. We see only her boots and arms. She is struggling with a broken umbrella and finally just holds it by her side.

JUMP CUT TO:

INT. CLANCY’S - SNUG – DAY – RAINING

WALTER  
I never did trust those Sullivans.

WALTER continues to shuffle the paperwork.

GUS  
(gesturing)  
Well, what are you waiting for? Gold lettering? Take care of this!

WALTER  
I’m straight on it.

WALTER signals to two of the men sitting at the bar, they join them in the snug.

GUS answers his mobile, walks away from the table. He is stroking a rabbit foot that is attached to his belt.

WALTER  
(to the two men)  
Sit down boys. You remember Sean and Danny Sullivan? Well, there’s a little problem I need your help with.

JUMP CUT TO:

EXT BAKER ST. – DAY - RAINING

Woman’s boots are still puddle-jumping. Car drives through a puddle and splashes on her boots. After the reaction to the splash, she stops to check her phone. Her identity is still not revealed. We see she is following map directions, on her phone, to 221B BAKER ST.

JUMP CUT TO:

INT. CLANCY’S BAR - SNUG – DAY – RAINING

GUS rejoins the table. 

WALTER  
Yanno Gus, I told you about this last time. We’re losing too many mice lately. That lab ain’t rationing the right amounts in the products. Too many are dying. The police are bound to notice.

WALTER is dialing his mobile.

WALTER (on mobile)  
Sean, how’re things goin’ down there?

SEAN (VO)  
Good. Good, Walter. Danny and I are on our way to look at the new space. It’s great, much bigger. We’ve even got a separate inventory room. And the professor will have his own room now, thank god; the miserable whiner.

WALTER (on mobile)  
That’s grand, Sean. Listen now, Gus wants to see you boys. You come up here after you secure that new lab.

SEAN (VO)  
Is everything okay?

WALTER (on mobile)  
Oh, sure. No problem. He just needs to see you both. Tomorrow, then?

SEAN (VO)  
I’ll text you our travel details.

WALTER hangs up. The door to the pub opens, door chimes as a couple enters the pub. 

WALTER  
(throwing newspapers down on the table and pointing to an article headline)  
The police are starting to look into the deaths.

The couple who just entered the pub sit at a table next to the snug. 

GUS  
(face to face with WALTER, and poking him to emphasize)  
This is on you, Walter. I put you in charge of my best lab. You better not screw this up.

GUS looks at the couple that just sat down and then to WALTER. WALTER notices, and immediately changes his speech.

 

WALTER  
(in Irish)  
Tá siad ag tosú do dhaoine gan dídean a nascadh chuig ár drugaí.  
(subtitles: They’re starting to connect the homeless to our drugs.)

GUS  
(in Irish)  
Ní dhéanfaidh aon ní théann níos fearr cearr leis SALIGIA. Ní féidir linn acmhainn chun aon aird a thabhairt air. Scriúnna Aon duine suas, iad gearrtha scaoilte.  
(subtitles: Nothing better go wrong with SALIGIA. We can’t afford to bring any attention to it. Anybody screws up, cut them loose.)

WALTER gives the two men sitting with them a signal. The men stand, nod and leave.

GUS  
(in Irish)  
An raibh tú go dtí an lá atá inniu ann tolláin?  
(subtitles: Have you been to the tunnels today?)

WALTER  
(in Irish)  
Níl, tá mé ag fanacht le haghaidh Adam a thaispeáint suas. Ní féidir liom a fheiceáil síos ann níos mó. Ró-amhrasach.  
(subtitles: No, I'm waiting for my cousin to show up. I can't be seen down there anymore. The mice are too suspicious.)

The new customers at the table have noticed the strange language and are looking at GUS and WALTER.  
GUS and WALTER stop talking and turn to stare menacingly at them.  
The customers grow uncomfortable and move to the bar. WALTER closes the door to the snug, which doesn’t block out the sound, but the view.

WALTER  
What was that call about?

 

GUS  
Ever heard of Sherlock Holmes?

WALTER  
Is that a name?

BEGIN OPENING TITLES

 

EXT. 221B BAKER ST. Front Door – LIGHT RAIN

WOMAN’s finger rings doorbell. 

CUT TO:

INT. 221B BAKER ST.

There is loud knocking on the door at 221B Baker Street.

SHERLOCK is sitting and staring ahead; he has an open book on his lap, a pencil in his hand. There is a short stack of books on the arm of the chair.  
JOHN is typing at his computer. He looks toward SHERLOCK, annoyed.

JOHN  
The bell!

SHERLOCK  
(distantly)  
That’s not the bell, John. That’s knocking.

JOHN  
The bloody bell, Sherlock. You were supposed to call to get it fixed.

SHERLOCK smiles. They both stand. 

JOHN, shaking his head in frustration and rolling his eyes, heads down the stairs. SHERLOCK puts the book down in the chair and turns to the bookshelves.

CUT TO:

INT 221B ENTRYWAY

POV JOHN opens the door. The rain has stopped. The sun is shining. The streets are glistening. Cars are passing with wipers still on. It literally just stopped raining. 

A YOUNG WOMAN of about 30, with her head down – face still hidden.  
Her long auburn hair is very wet, disheveled, plastered to her head and hanging in her face from its gathered ponytail. She struggles with the swoop of bangs stuck to her forehead and, as she lifts her head, we see her huge green eyes meet with JOHN’s.  
We are not yet sure is she is friend or foe.  
She smiles.

The woman is TILLY ROGERS. She is pretty in a sexy girl-next-door kind of way. And JOHN notices. 

TILLY  
Oh, hi. Is Sherlock home?

JOHN nods and waves her in. Her accent is American.

TILLY  
Sorry for just showing up unannounced. I’m Matilda, eh, Tilly, Tilly Rogers, an old friend.

JOHN reacts with a raised eyebrow to her saying she’s an “old friend.”

JOHN  
John Watson.  
They shake hands.  
Nice to meet you.

JOHN takes her broken umbrella and sees it is turned inside out. He sets it in the hall. He gestures for her to go up.  
JOHN walks behind her as they head upstairs. He is amused that this lovely girl might be a friend of SHERLOCK.

JOHN  
Sorry about the doorbell. Were you waiting long?

TILLY  
No.

JOHN  
You’re American then?

TILLY nods. They enter the flat.

INT 221B PARLOR

JOHN  
Sherlock, you’ve got company.

SHERLOCK is still standing, with his back to them, looking through a bookshelf. He is in frenzy, searching the titles for a book. Dressed in his pyjamas, tee shirt and dressing gown. He pays them no attention.

JOHN  
Sherlock…

SHERLOCK is now leafing through a book he found. His eyes have not left the pages, but we can see his profile.

TILLY  
(slightly sultry tone)  
Hello Sherly.

SHERLOCK absorbs the voice, a bit surprised, he turns around and a warm smile crosses his face.  
He drops the book onto his chair and moves toward her.

SHERLOCK  
(He speaks in an uncharacteristically friendly tone)  
Tilly!

He takes her hands in his. She pushes through and creates a hug. He awkwardly hugs her back, clearly uncomfortable with hugging. As they hug, SHERLOCK looks over her shoulder out into the front hall.

TILLY  
(sensing his movements)  
It’s just me.

SHERLOCK pulls back and holds her by the shoulders. He looks at her face trying to read the message. He is puzzled and wary of her presence. 

ADD SHERLOCK’S SENSORY DEDUCTION OF TILLY.  
Soaking rain. Been crying. Travelling. Still smoking. Anxious. Wearing Geoffrey’s Irish symbolon a chain around her neck. When did she grow up? Mycroft? Sorrow? Heartbroken? Geoffrey?

 

TILLY  
I see you gave up the Southwark flat.

TILLY looks around the parlor, taking in the space. She stays near the open door as SHERLOCK continues to look at her. 

TILLY  
This one is very nice; a big step up.

She flashes a worried look to SHERLOCK.

SHERLOCK  
Geoffrey?

TILLY looks to JOHN, and then to SHERLOCK.

TILLY  
(emotionally)  
Can we speak privately?

SHERLOCK’s mood darkens and he takes her arm and leads her into his bedroom and closes the door.

JOHN is puzzled; not sure who the woman is or who Geoffrey is. He goes back to his desk and continues typing, very attuned to the noises in the bedroom. 

CUT TO:

INT. CLANCY’S – SNUG – Continued… WALTER and GUS

WALTER  
Yah. Calls himself a consulting detective. He’s in London. He’s been snooping around the tunnels; he’s got a sidekick, too. I think they are looking into our operations.

WALTER shows him some pictures. 

WALTER  
This short guy. Name’s Watson. He’s the bloke.

GUS  
(pushing the photos aside)  
Why are you telling me all this? Get rid of them.

 

WALTER  
We can’t. Holmes has a brother.

GUS  
Oh?

WALTER  
Mycroft Holmes. Very high up. Hands off.

GUS  
Who says so?

WALTER  
Your uncle.

GUS is angry at the mention of his uncle.

GUS  
Everyone has accidents. Make it happen. And make his dwarf disappear too.

WALTER  
(sees how angry GUS is)  
I’m thinkin’.  
I am, Gus. Give me some time. I don’t like goin’ against your uncle.

GUS  
There is no time. Take care of this now!

JUMP BACK:

INT. 221B BAKER ST. – PARLOR - LATER THAT MORNING

JOHN can hear loud strained voices coming through the door, but they are unintelligible, drowned out by the drumming of the rain that has started again. JOHN is concerned.  
The door to SHERLOCK’s room opens and TILLY walks into the parlor. She is still wearing her damp clothes. Her eyes are swollen. She has obviously been crying. She half-smiles at JOHN.

TILLY  
I’m just looking for a glass of water.

JOHN heads into the kitchen with her and hands her a glass. 

JOHN  
Would you like tea?

TILLY  
No thanks. Water will be fine.

JOHN  
Is Sherlock all right?

TILLY  
He’ll be okay.

TILLY is a tall woman, even with her boots removed, she towers over JOHN. She goes to the sink.

JOHN  
What is going on? Please?

TILLY looks down at the floor and then sideways to him.

TILLY  
Do you know Geoffrey?

JOHN  
No.

TILLY  
(She nods toward SHERLOCK’s bedroom)  
Has he not told you about Geoffrey?

JOHN smirks and nods no. 

TILLY sits down at the cluttered table and nods to JOHN to do the same.

TILLY  
(piling and pushing dishes aside)  
He hasn’t changed a bit. He needs a maid.  
(JOHN smiles at her comment as he pushes a dish aside)  
Sherly met Geoffrey at Oxford. My brother was a Rhodes scholar, on track for a life in politics but he was really interested in forensics since the deaths of our parents.

JOHN reacts to this statement, but she doesn’t elaborate, so he says nothing.

 

TILLY  
They had classes together and shared several interests, especially forensics.

JOHN  
Sherlock went to Oxford?

TILLY  
Yes, but he wasn’t enrolled; he audited classes he liked. Well, after Geoffrey graduated, they travelled for a while and then settled here in London. Geoffrey was teaching at City U and solving crimes with Sherly when he could. The problem was that Geoffrey had been quite the partier at University and found new party friends quickly here.

JOHN  
(amused)  
Sherlock was a partier?

TILLY  
(surprised)  
How well do you know him? He’s always been socially circumspect.  
(She looks amused at JOHN)  
For Geoffrey, drugs were a big part of those nights. He started neglecting his work and then missing work.  
Eventually, Sherly asked me to come and help. So, I moved in with them for six months.

JOHN  
From America? That must have been difficult to put your life on hold like that.

TILLY  
Not at all. I’m a journalist. I spent my time here writing an exposé of the underground drug scene in London through the eyes of my brother; the brilliant politician in-the-making caught up in it.  
(Slight smile)  
It was excellent. Well received.

JOHN  
When was this? Was it published here?

TILLY  
No, sadly, it wasn’t. Perhaps it was a bit too raw for the hometown audience. But it is online.

JOHN  
I’d love to read it.

JOHN looks at the table and notices a container with three human ears sitting between him and TILLY. One of the ears has an earring in it. She hasn’t noticed it. He slides it over to himself and holds it on his lap under the table.

TILLY  
Thank you; it is good. I can send you the link. (sighing) Gah, I was very good at exposing that horror, but I couldn’t save my brother from it.  
(pauses)  
I had to return to Boston; my visa was up. I left Sherly to deal with him alone. I got visas to come back twice since, but it didn’t help. After a while Geoffrey stopped coming home. Sherly would roam the underground tunnels searching for him; bringing him meals and trying to keep him safe, trying to bring him home, but he couldn’t persuade him.

JOHN  
How terrible.

TILLY  
I love my brother dearly; he can be so charismatic. But he’s also selfish and arrogant and pigheaded. And didn’t Sherly love that about him. They fed off each other’s excesses.

TILLY stands up and fills the glass with water.

JOHN  
Someone more like Sherlock than Sherlock? He must be frightening at times…

TILLY  
Indeed.

She turns from the sink visibly shaken and faces JOHN. 

TILLY  
(weepy)  
He’s just died.

JOHN  
Oh, god, I’m so sorry. I didn’t mea…

TILLY  
(brushing the apology aside, composing herself)  
No, no worries.  
Mycroft only contacted me yesterday. His body had been in the morgue in this local hospital, St. Bart’s, for a week before he was identified.  
(long pause and she looks vacantly ahead)  
Mycroft has been a fantastic help.  
(She smiles warmly at JOHN)  
I’m sorry to bother you with this.

JOHN  
No, please, don’t apologize. Is there anything I can do?

JOHN stands and slips the container of ears on the counter and covers it with a cloth. TILLY briefly sees the container and thinks she sees the ears and then shakes it off.

TILLY  
We’re okay for now.  
(She points toward the bedroom. She shivers)  
I’m going to lie down a bit. This time difference is brutal.

She heads toward the room. Stops, turns to JOHN.

TILLY  
Mycroft will be stopping by in a while.

TILLY closes the bedroom door. JOHN heads back into the parlor and sits at the desk in front of his computer clearly unnerved about the whole situation. SHERLOCK had never mentioned Geoffrey. 

INSERT Mini-scenes to insert, telling the story of Geoffrey’s death. All at once, or sprinkled throughout the story.  
• GEOFFREY sitting alone just outside an entrance to the tunnels. WALTER and a MAN are talking to him, holding a clipboard and small box of glass jars. THEY walk away. GEOFFREY looks up and admires the beautiful blue sky. He is holding a small package. In it is a tiny glass jar. He opens the lid. It looks like a face cream. He looks at the small piece of paper from the package. He closes the jar and tucks it into his bag. As he turns around and leans into his backpack, SHERLOCK walks by, and they miss seeing each other. GEOFFREY leans back and closes his eyes just as SHERLOCK looks around and slips into a tunnel entrance.

• A YOUNG HOMELESS WOMAN is walking up to GEOFFREY’s living space in the tunnels. She leans in under a blanket. She is shaking something. The blanket falls. It is GEOFFREY that she is shaking. She is yelling to him. She stops shaking him. She covers GEOFFREY, who is naked, completely with the blanket. She sits down with her head in her hands.

• The YOUNG WOMAN has a cardboard box. She is collecting GEOFFREY’s personal effects and putting them in the box. Pens, pencils, papers, books. She leans down and removes GEOFFREY’s cap and puts it in the box. She finds a small glass jar, opens and sniffs it and drops it into the box. She keeps the backpack. She walks away with the box.

• Police are pulling GEOFFREY’s space apart. Other homeless are grabbing anything they can to have for themselves. The police are removing GEOFFREY’s body.

• GEOFFREY’s body is lying covered in the morgue. Toe tag notes “Unidentified Male”. SHERLOCK and MOLLY are standing right next to him. SHERLOCK partially lifts the cover and pokes GEOFFREY’s skin. He doesn’t look at the face. He nods to MOLLY.

• MOLLY is holding a small tray of body parts and skin from several corpses. She is handing the pan to SHERLOCK.

• CORONER STEVE talking to MOLLY over GEOFFREY’s body. POLICEMAN standing with them. The paper in his hand has DNA results written on it.

• MYCROFT is on the phone with MOLLY, who is working in the lab with SHERLOCK. MOLLY is looking concerned, avoiding SHERLOCK’s gaze. SHERLOCK is suspicious of her because she is acting suspiciously on the phone.

• CORONER STEVE puts a new toe tag on GEOFFREY’s body with the name “Rogers, Geoffrey – American” written and rolls the gurney with GEOFFREY’s body to a different part of the morgue. SHERLOCK walks in and comes over to talk to STEVE. SHERLOCK doesn’t see the boldly written name on the tag right in front of him.

• MYCROFT is on phone with TILLY, who is in Boston. TILLY is distraught. TILLY boarding a plane in Boston. She departs the plane in London and MYCROFT’S ASSISTANT is waiting for her. She drops TILLY off at a hotel.

• THE YOUNG HOMELESS WOMAN hands the cardboard box to NEVILLE, a young handicapped man who hangs out just outside the tunnel entrance. She has written “Sherlock Holmes 221B Baker” on the box. NEVILLE is nodding to the woman. 

JUMP BACK:

INT. 221B BAKER ST. – PARLOR LATER

The apartment is quiet. JOHN is typing. He smiles to himself. He pauses.

FLASHBACK: ALL REFERENCES TO THE TUNNELS, FROM PREVIOUS SHERLOCK EPISODES

JOHN  
(quietly to himself)  
So that’s why he so keen on the underground. That’s how he kept an eye on his friend. So many secrets, Sherlock…

A wisp of anger settles in his face. He looks up to see MYCROFT in the open doorway to the parlor.

Enter MYCROFT.

MYCROFT  
Good morning, John.

MYCROFT looks around the flat.

MYCROFT  
Where’s Sherlock?

JOHN nods toward the bedroom door. MYCROFT nods back and heads into the bedroom. He opens the door to SHERLOCK’s bedroom and starts into the room. 

The room is dark except for the sunlight streaming through the cracks on the sides of the lowered shades. The curtains are drawn. MYCROFT can make out the figure of SHERLOCK half standing, half kneeling on the bed, the outline of his dressing gown, unaware that MYCROFT has come in. 

TILLY’s and MYCROFT’s eyes meet; MYCROFT, thinking he’s walked into something private, backs out of the room and silently closes the door. He heads into the kitchen and paces seemingly flustered. He starts to dial his mobile.

JOHN  
Can I help with anything?

MYCROFT, without responding, heads out the kitchen door down the stairs to the street. 

JOHN rubs his head a bit amused, and starts writing again. SHERLOCK comes storming out of his room.

SHERLOCK  
Was that my brother?

(hour passes)

JOHN and SHERLOCK are in the parlor. SHERLOCK, sitting in his chair, is somber; his eyes a bit puffy. He is drawing on a pad of paper and referencing a book.  
JOHN hands SHERLOCK a cup of coffee and sits in his own chair.  
They look at each other.  
SHERLOCK goes back to drawing. They hear a key in the front door and footsteps on the stairs.

MYCROFT is back, entering through the kitchen door without announcing himself and again heads to the bedroom, this time knocking lightly on the door. 

He does not see SHERLOCK and JOHN sitting in the parlor.

After hearing no response from the bedroom, and briefly hesitating, MYCROFT opens the door and walks in to the dark bedroom, closing the door behind him. 

SHERLOCK stands and goes to his door. He knocks on his own door. JOHN turns to watch the interaction. MYCROFT opens SHERLOCK’s bedroom door.

SHERLOCK  
Mycroft, what are you doing here? You can’t just walk into my bedroom like that.

A bedroom light straight ahead shines through the doorframe. MYCROFT is silhouetted.

There is a spot of light on TILLY who has just stirred in the bed.

INT. SHERLOCKS BEDROOM

TILLY’s eyes are struggling to adjust to the light.

TILLY  
(annoyed)  
Sherlock, calm down. I told him to meet us here.

TILLY turns on the bedside light.

MYCROFT  
You are not the only one grieving for Geoffrey, Sherlock. Tilly has lost her brother now. They were all they had since their parent’s deaths. Have some respect.

TILLY pulls herself up in a sitting position against the headboard and pulls the covers up under her armpits. She is not wearing her top. Her bra straps are visible. 

MYCROFT takes off his overcoat and rolls it up, placing it on top of SHERLOCK’s dresser.

SHERLOCK  
Why would you care?

MYCROFT looks away and shakes his head, exasperated at SHERLOCK. He bends down and hugs TILLY.

MYCROFT  
I’m so sorry for your loss Matilda…a terribly sad ending for such a beautiful man. What a brilliant mind he had.

TILLY  
Thank you, Mycroft. He was a great guy. I’m heading over to St. Bart’s in a while to talk to the coroner. I was hoping to get in a nap before I go. Is it Steve I talk to?

MYCROFT  
Steve or Molly. Either can help you. Well, I won’t keep you. I just came over to see how things were going.

MYCROFT looks over to SHERLOCK.

MYCROFT  
Sherlock, how are things going?

SHERLOCK looks at him with a scornful face.

SHERLOCK  
Fine until you came, thank you.

MYCROFT continues to watch SHERLOCK. SHERLOCK is getting uncomfortable.

SHERLOCK  
What do you want, Mycroft? You obviously have something to say.

MYCROFT  
(MYCROFT’s voice softens)  
Sherlock, there’s something I’d been wanting to tell you, well, Geoffrey and I had been needing to tell you for a long time, but there never seemed to be a right time.

He looks at SHERLOCK, who is getting visibly tense and then at TILLY, who is looking in anticipation.

MYCROFT  
Maybe this isn’t the right time.

MYCROFT reaches for his coat.

SHERLOCK  
What?

MYCROFT  
Nothing. Never mind. Not the right time.

He bends to kiss TILLY goodbye. She holds his forearms.

TILLY  
Mycroft, is everything okay?

SHERLOCK  
Just say it, Mycroft. You’ve already agitated me by being here; just keep it coming why don’t you?

MYCROFT stands. He and SHERLOCK lock eyes and stare for a few seconds. MYCROFT drops his head down. He places his coat back on the dresser.

MYCROFT  
Well, how to start…

SHERLOCK rolls his eyes.

MYCROFT  
I met Geoffrey the year before you started taking classes. I was taking advanced government studies classes at the time. Our paths crossed a few times; we knew each other somewhat. After I left, I only saw him occasionally, usually with you or Tilly.

SHERLOCK  
Yes, I know you knew each other. So?

(A very long pause)

MYCROFT  
We approached Geoffrey a while ago, after he’d been living in the tunnels. I knew you were struggling to remove him from that environment, but we needed an insider to help us with a problem and...

SHERLOCK  
Insider?

MYCROFT  
Yes. Someone to help us get close to someone of interest who had dealing down there. Geoffrey was ideal. Intuitive, smart, able to communicate in code and in Irish, trustworthy.  
I know you were working to get him out of that space, but we needed him to stay there. (nervous pause) He was paid well for his services and asked that the money be put in a trust for Tilly.

SHERLOCK looks stunned. MYCROFT offers a weak smile to TILLY.

MYCROFT  
We were helping him get clean, but were unsuccessful; his drug use escalated and we had to suspend his services a few months ago. And I feel rather bad about that.

SHERLOCK  
And so you abandoned him - class act, Mycroft.  
Your usual terms of engagement. Use; abuse; refuse.

MYCROFT  
(furiously)  
Shut up, Sherlock! At least I didn’t slice and dice him up for frivolous experiments like beef at a slaughterhouse!

He looks shocked toward TILLY and then to SHERLOCK.

SHERLOCK  
What!?  
(He looks at MYCROFT cautiously)  
What are you talking about?

SHERLOCK, suspecting what he’s saying, stands to face him.

MYCROFT  
(shouting)  
You!  
(very angry)  
You don’t care a thing about those poor souls lying unclaimed in the morgue. It’s your candy store. ‘Oh, Molly, can I please have a few thumbs to test my new fingerprint theory? Sweet Molly, I need some eyeballs; may I take a few? Dear Molly, would you lend me some ears…”

SHERLOCK shoves MYCROFT. 

SHERLOCK  
Liar! Shut up! Shut up!  
(to TILLY)  
I had no idea. Please forgive me.  
(to MYCROFT)  
You don’t know that! Who told you?

TILLY looks between the both of them stunned. 

TILLY  
What are you talking about? What experiments?

SHERLOCK, ignoring TILLY, moves inches from MYCROFT’s face.

SHERLOCK  
(to MYCROFT)  
I did nothing wrong! How dare you accuse me of mutilating him.

TILLY is getting teary.

SHERLOCK  
My experiments are approved and you know it, Mycroft. My donors are anonymous.

MYCROFT  
Oh. Anonymous are they? How very removed you are from them. But the dead can’t really volunteer now, can they Sherlock?

SHERLOCK, unnerved, pushes MYCROFT away and sits on the bed with his head in his hands. 

TILLY has tears running down her face. 

MYCROFT is spent. He sits down numbly beside SHERLOCK on the bed. 

They are all silent. 

TILLY gets out of bed. She is wearing her bra and panties; she reaches for her clothes, which are hanging in the bathroom (through the slider door). She feels them to see if they are dry. She slips her dry skirt and top back on and sits on the other side of SHERLOCK. 

SHERLOCK looks at her, near tears, and rests his head on her shoulder. She gently rubs his back. 

SHERLOCK  
(sighing)  
He died long before this, Mycroft. We were merely sustaining his body; his spirit left long ago.  
(pause)  
He kept promising to come home and then he’d disappear again. He wouldn’t even talk to me the last time I was down there. He made some snide remark about me nagging him. Nagging him!

SHERLOCK stands and turns away, trying to gain control. He takes a moment to settle down, composing himself.

SHERLOCK  
(gesturing)  
I was so tired of his games. It would have been so easy if he’d just done what I told him. I could have helped him at home. I don’t understand why he couldn’t control it.

View of MYCROFT’s face, as he turns his guilt-ridden face away from SHERLOCK.

SHERLOCK  
He was a control freak for gods sake. Everything he did, everything he said, was well thought out, rationalized. But this…

MYCROFT  
Addiction is irrational, Sherlock. Geoffrey’s normal balance between emotional imperatives and rational checks-and-balances shifted overwhelmingly in favor of his immediate emotional need for drugs.

SHERLOCK  
But he had me.

They look at each other.

MYCROFT  
Even you can’t control everything, Sherlock.

SHERLOCK  
(looking forward vacantly)  
I went back last Sunday. I couldn’t find him. When Tilly came today I thought she was bringing him here.

SHERLOCK steadies himself and calms his breathing, composing himself even more. He sits between them again.

TILLY catches MYCROFT’s eye. It is unspoken, but she and he both know that they must protect SHERLOCK from himself.

They sit in silence for a bit. 

CUT TO:

INT. 221B BAKER ST. PARLOR – AFTERNOON SUN SHINING

JOHN is agitated. He quickly flips through pages of a magazine not actually reading it. Frustrated he slaps it down, on the armrest of the chair. He looks at the pad of paper SHERLOCK had been scribbling on. It is a nicely detailed drawing of a man’s face. (It is GEOFFREY)  
JOHN stands and approaches SHERLOCK’s bedroom and considers knocking on the door and then it suddenly opens. 

TILLY comes out carrying a man’s suit in a plastic cover, trying to put on her coat. She looks exhausted.  
JOHN backs up, takes the clothing and helps her put her coat on.

JOHN  
(looking at the clothing)  
What’s this?

TILLY  
Oh, one of Geoffrey’s suits from Sherlock’s closet.  
(She takes the suit from JOHN and holds it up)  
Geoffrey is nowhere near this big now.  
(pause)  
Well, I need to go to St. Bart’s to claim him, and then I must try to get some sleep. This jet lag…  
(She looks to JOHN)  
Mycroft will stay with Sherly for a while. Please don’t let them kill each other.

She starts out the door, hesitates, and steps back in. She approaches JOHN and holds both his hands in hers.

TILLY  
John, you must know how he is when he is upset and not in control. Please don’t let him leave the flat. Keep him here. I’ll take care of all the arrangements.

TILLY exits. 

JOHN, flustered, sits back down. 

MYCROFT, carrying his coat, exits the bedroom a short while after TILLY leaves. He looks very agitated. He drops something in the kitchen garbage bin and heads into the parlor.

JOHN  
Sherlock has Geoffrey’s clothes here in this apartment, knowing he was a homeless addict in the tunnels? Was he expecting him to just show up one day?

MYCROFT  
John,  
(whisper)  
John, I’m not sure how much you know. Did you talk to Tilly?

JOHN  
(loud whisper)  
Could you tell me what the hell is going on? Yes, Tilly told me Geoffrey is dead. She asked me to keep Sherlock here, away from the hospital. Why should I be concerned about that?

MYCROFT  
John, you know how Sherlock uses the morgue for his research.  
(pause while he watches JOHN’s face)  
Before being formally identified, it appears that Geoffrey became part of a few of Sherlock’s studies.

JOHN  
Oh, geez.

MYCROFT  
As you can imagine, he did not take it well.

MYCROFT turns away nervously, looking toward the window. The sun is washing the room.

MYCROFT  
John, you must keep Sherlock here.  
(He looks directly into JOHN’s eyes.)  
Please.

JOHN nods. MYCROFT begins to stand.

MYCROFT  
He’s comfortable now. I’d give him a few hours.

MYCROFT puts on his coat while he talks and heads toward the door.

MYCROFT  
I will be in contact. Call me if you need me.

JOHN  
Mycroft,  
(points to the bedroom door)  
you can’t expect me to stop him from trying to leave. Have you ever tried to stop him and succeeded?

MYCROFT turns back and smiles softly to JOHN.

MYCROFT  
He’ll listen to you John. He trusts you.

JOHN  
Of course he trusts me. I didn’t sell him out to Moriarty.

MYCROFT  
Well, John, thank you for that.

MYCROFT heads down the stairs and out the door. 

Agitated, JOHN slumps into his chair.

CUT TO:

SOMEPLACE SECLUDED IN LONDON.  
SEAN and DANNY pull up in a cab. The two men from the snug in the earlier scene are waiting there.  
SEAN and DANNY shake hands with MAN #1 and MAN #2. They know each other.

MAN #1  
Sean, Danny, good to see you again.

SEAN  
So, where are we meeting him?

MAN #1  
He told us to fetch you here.

SEAN  
Why don’t we meet at Clancy’s.

MAN #1  
Hey, I do as I’m told. Walter told me to meet you here and here I stand.

THE MEN pull out guns. DANNY and SEAN raise their arms.

DANNY  
Woah. What’s this?

MAN #2  
Just doing what we’re told.

THE MEN pistol whip DANNY and SEAN at the same time on the head. DANNY and SEAN fall to the ground unconscious.

CUT TO:

INT. 221B BAKER ST PARLOR - 3:30 AM

JOHN wakes in the chair. He looks at his watch. It is 3:30 a.m. He sighs and gets up, looking toward SHERLOCK’s bedroom door. 

He goes into the kitchen and fills the kettle. He opens the garbage bin lid and removes a syringe from the top that MYCROFT dropped in earlier; he sniffs it and drops it back in the bin. He heads into the bedroom to check on SHERLOCK. He opens the bedroom door. 

The bedroom is dark. The bathroom light is on and shining through the glass slider door.

JOHN switches on the bedside light. 

JOHN  
Sherlock?

The bed is empty, the pillows and blankets are heaped on the floor on the far side of the bed. The floor around the bed is skirted with a few marked up newspapers and dog-eared books. 

JOHN knocks on the bathroom slider door.  
No response.  
JOHN opens the door. SHERLOCK is gone. JOHN is exasperated.

CUT TO:

EXT. ST. BART’S – NIGHT

St. Bart’s is quiet. All the outside doors are locked except the main entry. 

JOHN considers what to do. 

The inside door leading to the morgue is just past the front station. There is an attendant and a security guard at the front desk. 

JOHN walks in.

JOHN  
I’m here to see Molly Hooper.

ATTENDANT  
The coroner?

The security guard looks down at JOHN.

SECURITY GUARD  
What’s your business?

JOHN opens his wallet and pulls out a police ID. He covers the photo with his finger and flashes it to the security guard. 

He starts walking toward the door.

ATTENDANT  
But you can’t just…

JOHN  
I need to speak to the coroner on duty about a case, immediately.

JOHN heads through the door before anyone can stop him. 

VISUAL: SHOW ID ONSCREEN. JOHN tucks the ID, which belonged to Detective Inspector Lestrade, back into his wallet.

Down the stairs he weaves through the darkened halls. He can hear voices and follows them. As he gets closer he can hear talking. He approaches the morgue hesitantly, not sure if SHERLOCK is inside. 

Looking through the portal of the bright room, he sees SHERLOCK and TILLY sitting on stools pulled up to a slab with a body on it, covered except for its head. 

JOHN quietly swings open the door. 

INT ST. BART’S MORGUE:

JOHN sees that TILLY is cutting and combing Geoffrey’s red hair and SHERLOCK is attempting to shave him.

TILLY  
Bheith Gaeilge, bhí sé ag mothú géilliúil de tragóid, a tharla dó trí tréimhsí sealadacha an-áthas.  
(subtitles: Yes, well, Being Irish, he had an abiding sense of tragedy, which sustained him through temporary periods of joy.)

SHERLOCK and TILLY smile together in a shared knowledge.

JOHN  
Sherlock?

SHERLOCK turns to see JOHN and casually gestures him over to them.

SHERLOCK  
Come meet Geoffrey.

JOHN, completely astounded at this sight, walks over and stands beside SHERLOCK. He looks at the corpse.  
VISUAL: Show sketch from pad that SHERLOCK did back at the flat earlier floating above GEOFFREY’s face, obscuring it.  
JOHN sees that the face of the man closely resembles the sketch SHERLOCK left on the pad of paper in the parlor earlier.  
JOHN looks around and notices MOLLY looking through a morgue viewing window at this scene. She looks perturbed. MOLLY looks at JOHN and looks away.

SHERLOCK  
We’ve just been reminiscing about our time together in London.

POV through eyes of GEOFFREY on the table. Camera view changes between the three faces.

SHERLOCK  
I’m sorry John, have you met Tilly?

JOHN  
Yes,  
(he smiles politely at TILLY)  
we spoke back at the flat.  
(pause)  
Sherlock, what are you doing here?

TILLY  
(interrupting to break the tension)  
John, please sit and join us if you’d like.  
(looking at JOHN, she voices sweetly to SHERLOCK)  
Sherly, look at him checking in on you; he takes good care of you?

JOHN just shakes his head in frustration.  
TILLY smiles at him, then to SHERLOCK.

TILLY  
(to JOHN)  
We were just catching up on what’s been happening since I left London.  
(Looking at GEOFFREY)  
There, he looks more like Geoffrey now.

TILLY stands with the scissors and walks around to SHERLOCK. She trims some of his curls. At first he is agitated and tries to move her away, then he smiles very slightly and allows it. Show MOLLY watching this exchange. JOHN is nearly embarrassed watching.

TILLY finishes the trim and tousles his hair.

TILLY  
(to SHERLOCK)  
An occasional brushing wouldn’t hurt.

She puts the scissors and shaver aside. TILLY pats and rubs GEOFFREY’s chest and gently kisses his forehead. 

SHERLOCK stares solemnly at the corpse. 

TILLY  
Well, I guess it’s time to put Geoffrey to rest.

Just then MOLLY comes in. She is eyeing TILLY suspiciously.

SHERLOCK looks up, nods to MOLLY, and MOLLY, clearly jealous, rolls the gurney away, covering Geoffrey’s face. 

SHERLOCK exits, unnoticed. 

JOHN and TILLY stand side by side, and watch the gurney being put away. 

TILLY  
(to GEOFFREY)  
D'fhéadfadh a bheith ann báisteach ar do sochraide.  
(subtitles: May there be rain at your funeral.)

JOHN  
(to TILLY)  
What was that language you were speaking just now? Irish?

TILLY  
Yes. Do you know it?  
D'fhéadfadh a bheith ann báisteach ar do sochraide.  
It means “May there be rain at your funeral”.  
It’s a sign of good luck. Well, maybe not for him.  
(She giggles and gives JOHN a wink)

TILLY looks over to MOLLY.

TILLY  
Thank you Molly. I really appreciate you letting us take care of my brother.

MOLLY gives TILLY a fake smile. TILLY turns and catches up with SHERLOCK who is already on the case. JOHN looks at MOLLY, who is watching TILLY run to SHERLOCK. She is not happy. 

MOLLY  
Who is she?

JOHN  
I’m not really sure.

JOHN nods at her and turns to leave.

CUT TO:

EXT. St. Bart’s – NIGHT

TILLY kisses SHERLOCK, shakes JOHN’s hand, and gets into a cab. 

TILLY  
I’ll call you after I get some sleep. They’ll be picking him up later this morning. We can make the rest of the arrangements together.

SHERLOCK gives the driver the destination and pats the car as it heads off to her hotel. 

SHERLOCK has a warm look.

JOHN  
Old girlfriend?

SHERLOCK smiles at him, but doesn’t respond.  
JOHN looks at SHERLOCK as they try to find another cab. 

JOHN  
Shall we head home then,  
(pause, then amused)  
Sherly?

SHERLOCK  
Not just yet John; and don’t ever call me Sherly. I need to go somewhere.

JOHN  
Where?  
(He asks incredulously)  
It’s six AM!

A cab pulls up.

SHERLOCK  
I need to go to the tunnels.

SHERLOCK gets in the cab and JOHN jumps in with him.

CUT TO:

EXT. ENTRANCE TO UNDERGROUND TUNNELS – EARLY MORNING

SHERLOCK and JOHN are walking toward the entrance to one of the abandoned tunnels. The sun is up and warming the air.

A man is sitting on a bench by the entrance. He stands when he sees SHERLOCK.

NEVILLE is a 30-something man living with a mild form of cerebral palsy; he gangles about with a severe limp and twisted limbs, leaning on his cart to steady himself. His voice is difficult to understand. He pushes a shopping cart full of found items. His cart has a handwritten sign attached “Matches - 50 pence”. There is a carton of match boxes setting on top of the finds in the cart; a lidded money tin sits in the carton with the boxes.

NEVILLE  
Mr. H! Hey, Mr. H!

They shake hands.

NEVILLE  
How are you doing, my friend?

SHERLOCK  
Good, Neville, and how are you? Neville, this is my friend Dr. John Watson.

NEVILLE  
Ooh, a doctor. Hello, Dr. Watson. What kind of doctor are you?

JOHN  
Retired. Nice to meet you.

SHERLOCK takes out 50 pence and drops it in a tin box on the cart. He takes a box of matches.

NEVILLE  
Mr. H., I haven’t seen you in a while. I have something for you.

NEVILLE hands SHERLOCK a small dirty cardboard box. The box is inscribed (in bold marker): 221B BAKER ST  
NEVILLE nods his head to the tunnel entrance.

 

NEVILLE  
They gave me this box to give you. It belongs to your friend.

SHERLOCK takes the box, opens it, and studies its contents. CLOSE UP OF CONTENTS: 5 journals, a book “Flowers for Algernon”, pens, etc. SHERLOCK closes it, and hands the box to JOHN.

NEVILLE rifles through his collection in his cart and pulls out a thin hard-covered book. It is wrapped in a rumpled plastic bag.

NEVILLE  
Look, Mr. H., The Poison Belt with Professor Challenger, by your favorite author. I found it on a bench.

NEVILLE removes the book from the bag and rubs the cover.  
VISUAL shows Arthur Conan Doyle as the author.

NEVILLE  
Like new. Nice hardcover.  
I knew you would want it.

SHERLOCK  
Thank you, Neville.

SHERLOCK flips through the pages and slips the slim book into his pocket.

SHERLOCK  
That is very kind of you.  
(He smiles at NEVILLE)  
How is your mother?

NEVILLE  
(rubbing his arms against the cool morning air)  
She had the operation, Mr. H. The doctors say she can’t come home yet, but she is getting better everyday. We can’t thank you enough.

JOHN looks quizzically at the both of them.

SHERLOCK  
Do tell her I send my best, will you?

SHERLOCK reaches into his inside front breast pocket and pulls out an envelope.

SHERLOCK  
I have something for her. A get-well gift.

He gives NEVILLE the envelope. NEVILLE feels the thickness of it, looks inside.

Camera view inside envelope. We see a small pile of paper money.  
Back to NEVILLE. He lunges at SHERLOCK. 

JOHN reacts to protect SHERLOCK.  
Before he can grab NEVILLE, NEVILLE slams hard into SHERLOCK and gives him an awkward bear hug, wrapping his crippled arms around him. 

SHERLOCK steadies himself. JOHN backs away. SHERLOCK breaks the hug.

NEVILLE  
Mr. H., you are too kind.

SHERLOCK takes out and unfolds a piece of paper and shows it to NEVILLE. NEVILLE looks at the note.

Camera view handwritten note with quite a few names written.

GUS HAGGERTY  
WALTER PATTON  
SEAN SULLIVAN  
DANNY SULLIVAN  
HUGH SULLIVAN (and more)

SHERLOCK  
Do you recognize any of these names?

NEVILLE  
Walter Patton sounds familiar. I don’t recognize the other names Mr. H, but I can ask around. I’ll look into them. Come back later?

SHERLOCK nods and smiles to NEVILLE. He and JOHN continue walking.

NEVILLE  
See you soon Mr. H!

SHERLOCK  
(slight wave)  
Good to see you, Neville.

JOHN  
Friend?

SHERLOCK  
He helps me every now and again. He is my eyes and ears to this world at times.

SHERLOCK looks around; notices two men loitering around the tunnel entrance. SHERLOCK pulls his collar up around his face. SHERLOCK and JOHN enter the tunnel.

EXT. Tunnel entrance. Early morning.

The two men were watching NEVILLE, SHERLOCK and JOHN in the exchange. They see NEVILLE put the list in his clothes. SHERLOCK and JOHN leave. The men approach NEVILLE. 

MAN #1  
Whatchu got there, Neville?  
You got matches?  
I could use some of them.

He takes a box of matches.

NEVILLE  
Hey, those aren’t free.

MAN #1  
You sellin’ em? What else you sellin’ boy?

MAN #1 is rummaging in NEVILLE’s cart. He is trying to move the cart away from NEVILLE.

MAN #2  
We seen you with Sherlock Holmes. You helpin’ him solve some mysteries?

The men laugh. They push NEVILLE’s cart aside and lift him from under his arms and float/escort him around the corner out of sight. He struggles against them.

CUT TO:  
INT TUNNEL  
JOHN and SHERLOCK at wandering around.

JOHN  
What are we here for?

SHERLOCK doesn’t respond. He keeps walking. SHERLOCK spots an area with police tape marking it. They approach the spot. Several tunnel residents are nearby and very suspicious. SHERLOCK bends down and is searching the area. He is looking for something. Some residents are starting to inch their way over to SHERLOCK and JOHN. 

SHERLOCK  
Arrrghh. Nothing.

SHERLOCK looks over and see that there is another area nearby also with police tape. He walks over and starts searching the area. There are pages from GEOFFREY’s journal wet and stuck to the ground and a few of the tiny glass jars. SHERLOCK picks them up. A small crowd is gathering, watching SHERLOCK along with JOHN. SHERLOCK stands and looks around, ignoring them.

JOHN  
Sherlock, are we done here?

SHERLOCK  
Not just yet.

SHERLOCK sees the woman who collected GEOFFREY’s belongings. She is wearing GEOFFREY’s backpack. SHERLOCK approaches her. They recognize each other. SHERLOCK reaches into his pocket and hands her some money. She hands SHERLOCK the backpack. SHERLOCK empties the backpack onto the ground. He moves her things into a pile and checks the backpack carefully. He pulls out 2 small glass jars and shows them to her. She nods. He puts them in his pocket. He hands her back the backpack. SHERLOCK walks away. JOHN follows while the woman watches them. They exit the tunnel where they came in. SHERLOCK holds one of the jars up to the light. He sees the numbers on the jar. He opens it and sniffs it and puts it back in his pocket. He spots NEVILLE’s cart.

CUT TO:  
ISOLATED SPOT NEAR THE TUNNEL ENTRANCE.

MAN #2  
What did he give you?

NEVILLE  
Nothing. He’s just a friend. He came around to visit me.

Man #1 punches NEVILLE.

NEVILLE  
What do you want?

MAN #1  
You know what we want. What did Mr. Holmes want from you? You selling him some information?

NEVILLE realizes they were watching him with SHERLOCK. He knows he is in danger and now speaks clearly, with no hint of a disability.

NEVILLE  
I don’t know what you are talking about.

NEVILLE, with no signs of his normal spasms, reaches for an inside pocket in his jacket. MAN #1 holds him by the arms. MAN #2 punches him in the stomach. The men continue to question him and beat him up. 

NEVILLE  
(speaking without affliction)  
You can’t possibly expect me to tell you anything. What are you looking for?

MAN #1  
The paper he gave you.

NEVILLE  
What paper?

MAN #1 punches him in the face again. Blood pours from a gash in his eyebrow. MAN #2 is going through his pockets. He finds the envelope with money and holds it up to the other man. He slips it into his own jacket pocket.

 

MAN #2  
Looks like you get paid well for the information. We’ll take care of this for you.

NEVILLE  
I don’t have any paper.

MAN #1  
We don’t believe you.

NEVILLE, again, no signs of spasms or affliction, takes a swing at one of the men. He reaches for his jacket pocket and pulls out a gun. One of the men wrestles him and takes it away. The two men continue to beat on NEVILLE. NEVILLE loses consciousness. The men continue to kick him and they go through his pockets looking for the paper. They can’t find it.

MAN #1  
Damn, it’s not here.

MAN #2  
Maybe it’s in his cart. Let’s go.

Man #1 aims NEVILLE’s gun at NEVILLE.

MAN #2  
No. He didn’t say to kill him.

Frustrated, MAN #1 drops the gun beside NEVILLE and gives him a final kick to the head and they walk back toward the cart.  
As they walk, they become aware of two figures nearby. SHERLOCK appears without his overcoat and starts beating them both in rapid succession. JOHN is carrying SHERLOCK’s coat and the box from the previous scene. He drops them on the ground and is attending to NEVILLE and calls for an ambulance. The men are overwhelmed by SHERLOCK’s attack. One gets away. SHERLOCK grabs the other and punches him out. SHERLOCK runs and follows the one that got away and tracks him down. He drags him back to JOHN. He tries to escape again and JOHN starts punching him. He punches back with intensity and cuts JOHN’s face with his fist. SHERLOCK jumps in. The man has a knife and slashes JOHN’s arm through his sleeve and cuts SHERLOCK on the leg through his trousers. SHERLOCK looks at his trousers. He is furious and punches him out. SHERLOCK smoothed out his suit, sticks his finger in the cut cloth as the blood soaks it and turns his attention to NEVILLE.

CUT TO:

INT ST. Bart’s emergency room

JOHN and SHERLOCK are in the emergency room with two nurses. JOHN’s face has a bandage. JOHN and SHERLOCK are both getting stitches. JOHN is wearing a jonny. SHERLOCK is not wearing a jonny.

JOHN  
(to NURSE who is sewing his knife wound)  
How is Neville?

NURSE (PENNY)  
Hanging in there, poor lad. Do you know him?

JOHN  
No, I just met him. Sherlock knows him.

NURSE (PENNY)  
He does? Great. Sherlock, what’s Neville’s last name?

SHERLOCK  
I don’t know.

NURSE (PENNY)  
He has no identification. Do you know where he lives?

SHERLOCK  
No.

JOHN  
No?

SHERLOCK  
John, I never asked him. He was always in the same spot. We never had a reason to exchange addresses. He lives with his mother, but she’s still in hospital recovering from surgery.

NURSE (PENNY)  
Which hospital?

SHERLOCK  
(to NURSE – agitated)  
I don’t know!  
(to JOHN)  
We’ve got to talk to those men.  
(to NURSE)  
Are those idiots conscious yet?

NURSE (PENNY)  
I believe they’ve been taken into custody.

JUMP TO:

SHERLOCK and JOHN leaving the cab and walking along the street toward LESTRADE’s office.  
JOHN is carrying the box marked Sherlock Holmes - 221B Baker.

SHERLOCK (on mobile)  
(angrily)  
What do you mean, “They’re gone”! You just brought them in! They might be murder suspects!

LESTRADE (on mobile)  
Sherlock, I have no jurisdiction over this case. I’m not at liberty to say what department took them.

SHERLOCK (on mobile)  
My brother?

LESTRADE (on mobile)  
We had to let them go. That’s all I can say.

SHERLOCK hangs up and is calling his brother. He is hailing another cab. The call goes to voicemail.  
He sends a TEXT to MYCROFT: What is going on?

CUT TO:

EXT CHURCHYARD - VISUAL ONLY – GEOFFREY’s FUNERAL 

SHERLOCK, TILLY, MYCROFT and a smattering of others. Some dressed very well, some dressed as students, some homeless tunnel friends. (Mime a funeral, add some nice music).

CUT TO:

 

INT. 221B BAKER ST – A WEEK AFTER GEOFFREY’S SERVICES

JOHN comes up the stairs and sets his suitcase down in the hallway near the stairs going up to his bedroom. He looks in through the open parlor door. There is a handsome spectacled man, of about seventy years sitting in SHERLOCK’s chair talking on a mobile phone. 

The man is SIR MICHAEL HOLMES, SHERLOCK’s father. He is tall and nattily dressed. 

MICHAEL notices JOHN and gives a polite wave, pointing to the phone almost apologetically and stands and walks into the kitchen to continue the call. 

JOHN, who has never met MICHAEL, nods to him and looks around the flat. He is surprised to see that it is neater than he’s ever seen it. The floor is uncluttered and everything appears nicely organized. There are actual bare spots on the desk. SHERLOCK’s chess board teeters on the corner of the desk with most of the pieces tipped on the board and scattered about the desk and on the floor below. 

The room is quiet except for MICHAEL’s conversation in the kitchen. 

JOHN looks over to see SHERLOCK stretched out on the couch lying on his stomach sound asleep; one of his arms is dangling down over the couch, knuckles on the floor. His violin is lying on the floor near him, while his legs are resting across the lap of a woman who is reading a magazine and resting her hand on SHERLOCK’s exposed calves, the trouser legs pushed up. 

JOHN does a double-take at the sight of the woman stroking SHERLOCK’s calf. The woman is DAME DR. MARGARET HOLMES, aka MAGGIE, SHERLOCK’s mother. Maggie is a petite 65-ish blond/grey woman with soft curls. 

MAGGIE  
(smiling, to JOHN)  
Well hello. You must be John.

She sets the magazine down and extends her hand.  
JOHN walks over and shakes it. 

 

JOHN  
And you are?

MAGGIE  
(a little surprised)  
I’m Maggie, Sherlock’s mother.

She looks at SHERLOCK. 

MAGGIE  
Did he not tell you we were coming?

JOHN  
(looks puzzled)  
I guess he was too busy to mention it, what with all the crimes he’s been solving these days.

JOHN looks closely at the sleeping SHERLOCK, squats down, pulls out his mobile and snaps several pictures of him just as drool is running out of his mouth. 

JOHN  
(looking up to MAGGIE pleased at himself)  
New blog photos.  
A little drivel for the fans. They love to see the real Sherlock.

SHERLOCK opens his eyes; surprised that JOHN is inches away. He rolls onto his side, looks down the couch and shoots a warm smile to his mother, retracts his legs and curls up into the corner of the couch, tucking his dressing gown, which he is wearing over his clothes, around himself. 

JOHN looks at SHERLOCK a little annoyed. 

SHERLOCK  
(realizing he’s not told JOHN anything)  
I see you’ve met my mother.  
(to MAGGIE)  
Mummy, this is John Watson.  
(between the two)  
John, Maggie.

MAGGIE  
Sherlock tells me you are an army doctor, a wounded warrior; and now his “partner in crimes” if you will. Mycroft assures me that you manage to keep my son in line. Well, it’s so nice to finally meet you after all the stories the boys tell me.

JOHN, irritated, is looking at SHERLOCK. 

JOHN  
Nice that you know so much about me, as Sherlock hasn’t filled me in on any details of your life yet.

 

SHERLOCK, ignoring and avoiding him, gets up and walks into the kitchen. He puts on the kettle.

SHERLOCK  
(to MICHAEL)  
Tea?

In the kitchen, MICHAEL nods, as he continues his phone call. 

SHERLOCK walks back into the parlor, gives a snarky smile to JOHN and sits on the couch next to his mother. 

SHERLOCK  
My mother is a fan of yours; she reads the blog.

Maggie smiles at JOHN. 

MAGGIE  
Yes, indeed, I really enjoy your chronicling the crimes. Such a great writing style. And I particularly love the fan comments! What a loyal following you’ve built.

JOHN  
(flattered and slightly embarrassed)  
Thank you.

MAGGIE  
Yes. Neither of my boys took any interest in writing, although they did take delight in being my inspiration to write.

JOHN  
Sorry? Your inspiration? Are you a writer?

JOHN is truly interested. 

MAGGIE looks over to SHERLOCK and shoots him a “have you told him nothing about us?” smile. 

SHERLOCK looks away, stands up and walks into the kitchen again. 

JOHN sits in the chair beside the couch, near Maggie.

MAGGIE  
Well, when my boys were young I wrote little stories in a journal for them about their adventures during our travels. It was a great way to capture what we did on holiday. I would embellish each with a little twist, adding a detail of intrigue or humor that made the adventure extra special.

JOHN  
So you wrote a blog about their childhood adventures?

MAGGIE  
Well, no. I don’t blog. But I do love reading yours. No, I wrote the stories long ago obviously, before blogging was keen. I’m so happy I did. The boys adored the tales when I’d read them. They would act them out too, because the stories were sometimes more fun then what they’d actually done. I sent copies to friends and family, who seemed to like them too and, eventually, I had some published. I called the boys Charlie and Oliver in the stories, but the adventures were all Mycroft and Sherlock. They were so adventuresome, well, at least Sherlock was! Mycroft was more of the “solver”.

JOHN looks incredulous. 

JOHN  
Charlie and Oliver? Not THE Charlie and Oliver stories? Wait.  
(He mutters the name softly)  
Maggie…no…Margaret? No!

JOHN looks to MAGGIE.

JOHN  
You are Margaret Tisdale?

JOHN is looking star-struck. 

SHERLOCK walks in with the tray of tea.

SHERLOCK  
John, silly me, did I introduce her as my mum Maggie? So sorry; I meant to say, ‘Have you met my mother, Dame Dr. Margaret Tisdale Holmes?’ the famous children’s author and mother of incredible me, but we do try to keep her ego in check.

Before JOHN can react, MICHAEL, who has finished his phone conversation, follows SHERLOCK into the parlor. He walks over to JOHN, and gives him a firm handshake. 

MICHAEL  
John, sorry about that.  
(He mimes a mobile to his ear)  
Work never ends, especially when I’m home. Very nice to finally meet you. The boys have told us so much about you. I’m Michael Holmes, Sherlock’s father.

JOHN looks startled; he is dizzy at his realization. 

JOHN  
Michael Holmes? Sir Michael?

SHERLOCK  
(rolling his eyes)  
John, please.

JOHN looks up at Michael, recognizing him, stands, grabs his hand, this time with both his hands, and shakes again.

JOHN  
Very nice to meet you, Sir.

JOHN steps back, and gives MICHAEL a respectful salute. SHERLOCK hands MAGGIE her tea. 

MICHAEL  
Yes, Mycroft tells me you were attached to the Fifth Northumberland Fusiliers. I am honored to meet you.

He returns the salute to JOHN. 

JOHN offers Michael his seat and pulls a chair from the desk over to the couch and sits with them. 

SHERLOCK sits on the couch with his mother.

JOHN  
(to SHERLOCK)  
How’d the service go for your friend?

SHERLOCK  
Well, John,  
(slightly agitated)  
it was very fitting for a brilliant Rhodes scholar. Quite an eclectic gathering. Pity, you missed it.

SHERLOCK clinks his spoon down hard on his saucer.  
MAGGIE reaches over, rests her hand on SHERLOCK’s forearm and pats it.

MAGGIE  
Sherlock…

JOHN raises his eyebrows and looks at MAGGIE. MAGGIE gives JOHN a “let’s not go there” look.  
SHERLOCK picks up his violin and wanders around the room playing.

MICHAEL  
(setting down his tea)  
Maggie, we must be leaving. I am expected by three o’clock. Sherlock, remember you are coming Friday for tea?  
(to JOHN)  
John, will you join us?  
(to SHERLOCK)  
I’ll send a car. Edward will be making your favorite meat pies.

SHERLOCK looks pleased.

MICHAEL  
Matilda will be joining us. Your mother has invited her to stay with us the remainder of her visit.

SHERLOCK makes a face at this note. MICHAEL stands.

MICHAEL  
Well, your mother and I are expected to make an appearance today. You know how that goes; mustn’t keep the Queen waiting.

JOHN’s ears perk up at the statement.

Maggie  
Sherlock, I gave my coat to your maid but I haven't seen her since we arrived.

SHERLOCK  
(realizing what she is saying)  
Right, she must be off shopping.  
(Side smirk to JOHN)

Maggie  
Oh, would you fetch it for me then?

SHERLOCK exits, in search of the coats. 

JOHN, MAGGIE and MICHAEL descend the stairs, after SHERLOCK.

MAGGIE  
(aside to JOHN)  
We are so happy to finally meet you and so pleased that you are back home. He’s been having a rough go of it this week trying to solve Geoffrey’s murder on his own…He’s been rather annoying, actually.

JOHN  
Yah. I imagine he was.

INT 221B FRONT HALL

SHERLOCK finds the coats. They are thrown in a pile on the floor at the base of the stairs. SHERLOCK laughs as he picks them up and looks over to Mrs. Hudson’s door.

CUT TO:

As soon as the door closes behind them JOHN turns to SHERLOCK, who has already headed up the stairs.

JOHN starts up the stairs.

JOHN  
What. Was. That?  
(pointing in the direction of the door)  
”Mustn’t keep the queen waiting?!” Your father is practically nobility and you don’t think to mention it?

INT 221B PARLOR-

SHERLOCK  
John, that was generations ago. He’s only got the title.

JOHN  
(from the doorway)  
And it slips your mind to mention that your mother is my favorite childhood author?

JOHN slumps into his chair.

JOHN  
You told me your father was a banker and your mother was a stay-at-home mum.

SHERLOCK  
My father is a banker. And technically, Maggie was a stay-at-home mother; that’s where her office was. I wasn’t misleading you.

JOHN shoots an annoyed look at SHERLOCK.

SHERLOCK  
John, I don’t recall a conversation about our favorite childhood authors. When would that have come up? ‘Oh John, what do you think of this gruesome serial killer, and oh, by the way,  
(mocks him in a high girly voice)  
who’s your favorite childhood author?  
(he smiles at JOHN)  
Should I be upset that you don’t go around talking about your parents? Although I already know that your parents are repatriated back to Ireland; your father is a postal worker in Dublin, with a bad hip, planning to retire soon and your mother is a primary school teacher. Perhaps we should have them for tea next week? Get all chit-chatty about things; fill out the picture.  
(pause)  
John, those people are my parents. That’s all. Now let it go.

JOHN  
Why on earth do you live in this run down,  
(sarcastically)  
albeit lovely flat, sharing rent, when it seems you could afford to live anywhere you choose.

SHERLOCK  
I do live where I choose, John.

JOHN  
(understanding his sentiment)  
I see. And your father plays chess?  
(nodding to the scattered chess pieces across the board and on the floor)  
And very well, from the look of things.

SHERLOCK  
(with mock disdain)  
He cheats.

JOHN smiles as he looks around the flat again and notices the kitchen is immaculate. He looks at SHERLOCK and spins his finger round the flat in a questioning manner, wondering who was behind the cleanup. 

SHERLOCK  
What?

JOHN  
Mrs. Hudson?

SHERLOCK holds his head high and smiles smugly. JOHN smiles back. 

JOHN  
We should have your parents ‘round more often.

CUT TO:

INT. LOCAL CAFÉ

SHERLOCK and JOHN. JOHN is eating. SHERLOCK has a tea.

JOHN  
So, your friend Geoffrey was murdered?

SHERLOCK  
What?

JOHN  
Murdered. Your mother said you were trying to solve Geoffrey’s murder.

SHERLOCK  
Yes, obviously. Geoffrey wasn’t the only addict to end up in the morgue that week. And there are other questionable deaths – mostly homeless– in the past few months. And not just at St. Bart’s.

JOHN  
What do you mean?

SHERLOCK  
Geoffrey’s journals. They were in the box from Neville. He talked through them. He was onto what was going on down in the tunnels.

TILLY walks in.  
TILLY  
Sorry I’m late; I didn’t realize how long a walk it was.

JOHN  
How’s Maggie?

TILLY  
Lovely. She’s taking cooking lessons. She was baking when I left. The house smells delicious.

She takes off her coat and nods to the waitress.

How is your friend, the one that got beat up? How awful for someone to beat up a disabled man. Do you know why?  
(to the WAITRESS)  
Black coffee. Do you have Scotch eggs? Two, please.  
(to SHERLOCK)  
So, how is he – Neville is it?

SHERLOCK  
Conscious now. We’re just going over to question him.  
Where are you headed?

TILLY  
I’m working on an idea. Trying to get some funding. I need some camera equipment. Can we meet up later today?

SHERLOCK stands.

 

SHERLOCK  
Call me. John, meet me at Bart’s.

CUT TO:

INT ST. BART’s – NEVILLE’s ROOM

SHERLOCK  
Gone?!

NURSE  
Yes, he was discharged this morning.

SHERLOCK  
To whom?

NURSE is silent.

SHERLOCK  
(annoyed)  
Who signed him out?

NURSE  
I’m not at liberty to say, Mr. Holmes.

SHERLOCK is visibly upset.

SHERLOCK  
Can you tell me his surname?

NURSE  
Mr. Holmes, you should be talking to the front desk about this.

JOHN enters the room. He realizes the NURSE is upset and SHERLOCK is losing control.

JOHN  
What’s going on?

SHERLOCK  
They let him go!

JOHN  
(to NURSE)  
It’s okay, Sheila. I know you can’t say anything. We’ll go. Come on, Sherlock.

SHERLOCK flies out the door and down the hall.

JOHN  
Sherlock!

SHERLOCK  
(turning back to JOHN, but still walking)  
This is getting out of hand. And it’s got Mycroft’s stamp all over it.

JUMP TO:

SHERLOCK and JOHN walking toward the Diogenes Club.

JOHN  
Sherlock, why do you think Mycroft has something to do with Neville being discharged? He didn’t know him.

SHERLOCK  
Oh, I bet he’s got everything to do with it. I bet he’s taken him for questioning. Mycroft will ruin him. Look what he did to Geoffrey when he needed his help. Neville needs a gentle hand. He can’t just start pumping him with questions. We need to protect him, John.

JOHN  
Well maybe we can start with posters around the area. If he’s been discharged maybe he’s gone home. Do you have a picture of him? Someone might recognize him.

SHERLOCK  
No. Although he is does have a unique look.

JOHN  
And a unique swagger.

SHERLOCK  
(smiling)  
Very unique.

JOHN  
Maybe you could sketch him? You’re good at that.

 

SHERLOCK  
Yes, I know.

ENTRANCE AND INT FIRST FLOOR – DIOGENES CLUB

As they reach the top steps and enter the first floor where MYCROFT has an office, a man breezes past them. JOHN and THE MAN look at each other and the man looks away and quickly heads down the stairway.

JOHN  
Sherlock, that man looks a lot like Neville.

SHERLOCK  
Don’t be ridiculous. I want to find him just as much as you, but Neville has a severe limp and spastic limbs.

At the window in the landing on Mycroft’s floor.

JOHN  
(pointing out the window to the street)  
Sherlock, look.

POV FROM THE WINDOW  
The man is hailing a cab. He looks up to the window nervously and it is clear that it is NEVILLE. SHERLOCK runs down the flight of stairs and out to the curb as the cab pulls up.

JUMP TO:

INT. MYCROFT’S OFFICE

MYCROFT, NEVILLE, SHERLOCK and JOHN are there. Sherlock is standing; the others are seated. NEVILLE is dressed casually. He has taken off his jacket. He has bandages on his arms and still shows deep bruising on his face. His ear is bandaged.

SHERLOCK  
(to MYCROFT)  
You knew all along, didn’t you? So, how did this all work, your plan to mislead me?  
(to NEVILLE)  
Is Neville even your name?

 

MYCROFT  
This isn’t about you Sherlock; no one was deceiving you.

JAMES  
It’s James. This has been my world for the past five years, Sherlock. I’ve invested too much time to this persona to risk exposing it.

 

SHERLOCK  
(to Mycroft)  
You could have had the decency to let me know.

JAMES  
Sherlock, this is the way I work. Only Mycroft and a few others know who I am. It was my choice. I couldn’t chance telling anyone.

Sherlock is annoyed and angry at JAMES for the deception. He gives him a look.

JAMES  
Don’t be childish about this; I couldn’t tell you.  
We stumbled upon the gang activity about the same time you did. This case was too important to jeopardize me being outed.

SHERLOCK again makes a face.

JAMES  
We couldn’t compromise the work. I fed you leads from here knowing that you would help us. And you gave us some good intel when you asked me questions.

JAMES smiles at SHERLOCK.

I really enjoyed working with you. I was touched by your compassion for me.

SHERLOCK offers JAMES a fake smile and continues it to MYCROFT.

JOHN  
Will you share what you know about the case?

MYCROFT  
Of course. As much as I can.

MYCROFT looks to SHERLOCK, who looks back scornfully.  
JAMES stands.

JAMES  
(to SHERLOCK and JOHN)  
I will continue to be Neville when I get back. I hope you’ll be discreet.  
(to MYCROFT)  
Now, can I get on with my holiday?  
(to SHERLOCK)  
I mean it. Not many people out there are kind to the disabled on the streets. But you care.  
All the money you’ve given me over the years has gone to charity.  
(pause)  
And my mom actually is sick and in hospital. And she really enjoys my stories about you.

JAMES touches SHERLOCK’s forearm. SHERLOCK looks at him a little less angry; they are nearly eye-to-eye now that JAMES isn’t hobbled.

JAMES  
I’m sorry about your friend Geoffrey. I got to know him. A bit of a philosopher; too bad about the drugs. He was quite a brilliant man; and what a talker.

JOHN offers his hand. He and JAMES shake. JAMES exits.

CUT TO:

OUTSIDE THE DIOGENES CLUB. 

SHERLOCK is hailing a cab.

JOHN  
Well that was unexpected.

SHERLOCK  
For the good of Queen and country.  
Good deception though; I admire him.

JUMP TO:

STREET – downtown London  
SHERLOCK and TILLY walking down the street and entering a camera store. 

INT CAMERA STORE

SHERLOCK  
No, this is too dangerous for you. Stay out of the tunnels. Isn’t it time for you to be returning home to your work?

TILLY  
You can’t wait to get me out of your hair, can you? I’ll decide what I can and can’t do, and when, thank you very much. Besides, I’m between jobs right now. I’ve got to settle things here before I leave.

 

SHERLOCK  
Tilly, they will stop at nothing to shut us up. You are an even bigger target for them.  
Look what they did to Neville – and they believed him to be disabled! You are an able-bodied journalist and they sure don’t want to see another write-up of their goings-on.  
You touched on their existence when you wrote the expose. Remember the Irish symbols in the tunnels? That’s their signaling system. I’m surprised they didn’t come after you then.

TILLY  
What do you mean they believed Neville to be disabled? He’s not?

SHERLOCK  
Ignore that.

TILLY  
Dammit, Sherly, I can take care of myself. Besides, I’ve got a network too.

SHERLOCK looks at her.

TILLY  
My peeps are all over Europe and the U.S. I’ve got a reporter friend in nearly every country, including Spain. In fact, I’m heading down for a visit very soon, as soon as I secure that funding.

TILLY speaks to the CLERK in the camera store as she hands him her camera.

TILLY  
(to CLERK)  
Yes, I need a zoom lens for this.

SHERLOCK  
Oh no, you’re not! I won’t allow it. You are not going down there and risk your life just to write a story.  
(He realizes she knows about Spain)  
How do you know about Spain? You’ve been spying on me in my own flat, haven’t you?  
You can’t butt into my investigation and steal my notes.

TILLY rubs SHERLOCK’s cheek affectionately. SHERLOCK stares at her.

TILLY  
Gah, Sherly. You haven’t changed a bit. Always trying to control me. It doesn’t work, remember?

SHERLOCK  
(pulling away from her hand)  
Tilly, I’m serious. Cancel your plans.

The CLERK shows her two lenses. She taps on one. TILLY is paying for the lens.

SHERLOCK  
I…I could have you deported.

TILLY  
(smiling)  
Tá tú imbecile.  
(subtitles: You are an imbecile)  
That won’t happen; besides, Mycroft knows I’m going.

SHERLOCK  
Mycroft approved this?!

TILLY  
Of course not.  
(she looks at him)  
Ah, come on Sherly. When Mycroft says no, we kick it up a notch, don’t we?

SHERLOCK is dialing his phone.

CUT TO:

MYCROFT, in back seat of his car, on his mobile

MYCROFT  
You can’t force her to stay away from a great story. She says she’s got protection there. Stop worrying. Besides, I’ll be keeping watch over her.

MYCROFT ends the call and looks worried.

CUT TO:

INT. 221B BAKER ST – DAY

JOHN is lounging on the couch reading a “Charlie and Oliver” book by Margaret Tisdale. The series of books is piled on the table next to the couch. 

SHERLOCK walks in from the kitchen. He is wearing safety goggles pushed up on his head and removing his safety gloves. He walks over to the desk and squats down.  
He’s rifling through some boxes under the desk. He stands and walks over to the bookshelves.

SHERLOCK  
John, have you seen my blue binder?

JOHN  
Blue binder?

SHERLOCK  
Yes. I keep in of one of these boxes under the desk.

JOHN  
I don't remember a...oh wait - the one with the numbers and funny squiggles on the front?

SHERLOCK  
Those are chemical symbols.

JOHN  
Oh yeah. You cousin took it.

 

SHERLOCK  
My cousin?

JOHN  
Yah. Jimmy. He said he was your cousin. He came by after your funeral. He asked if he could look around for something he loaned you. He showed me that blue binder. He said he needed it back.

SHERLOCK  
John, do really believe I would have a cousin named Jimmy?!

JOHN  
Well, how am I supposed to know if he's your cousin? He came by while you were off playing Jesus for two years. I didn't think to ask for his ID!

SHERLOCK  
And you gave it to him?

JOHN  
Why wouldn't I? You were dead. Remember? Why would someone masquerade as your relative to get a binder?

SHERLOCK  
I kept my notes and ideas in it. Some old projects.

JOHN  
That was quite a long while ago. You're only missing it now?

SHERLOCK  
I didn't need it until now.

JOHN  
Who do you suppose took it? Maybe one of Moriarty’s men or that creep Magnussen?

SHERLOCK  
Hmmm.

SHERLOCK looks over to JOHN on the couch.

SHERLOCK  
What are you doing?

JOHN  
Your mother gave me a set of the books.

 

SHERLOCK  
They’re children’s books. You’ve read them all. Why would you read them again?

JOHN  
Now that I know it’s really the “Mycroft and Sherlock” series, the stories take on a whole new meaning.”

SHERLOCK thinks about it and smiles amused. He picks one up and sits next to JOHN.

JOHN  
Did you ever read these?

SHERLOCK  
Hmm. Maybe a long time ago.

SHERLOCK flips through the pages.

JOHN  
You didn’t.

SHERLOCK  
How would you know?

JOHN  
Your mother told me.

SHERLOCK  
My mother? How would my mother know if I read them or not?

JOHN  
Because she told me she tucked something special into the last page of each book. You never mentioned what it was, so you probably never read it or followed the instructions in the notes.

SHERLOCK walks over to the bookshelves where he keeps his collection of Charlie and Oliver and pulls down the first of the series. He opens to the back page.

A small envelope is taped to it. In the envelope are two 50-pound notes.

He pulls out a small card. It is dated 20+ years earlier.  
Sherlock (reads the note aloud or text on screen):  
“Congratulations Luv. You’ve made it through the first book! Take this money to your father and ask him to invest in Apple, Inc. stock for you. This one is going to be big someday.”  
SHERLOCK laughs at himself. He takes down each book. He finds one hundred pounds and a suggestion of how to spend it in the back of each.

SHERLOCK  
Money? Why would she pay me to read?

JOHN  
That’s twenty three hundred pounds, Sherlock. Imagine how much money you’d be worth if you followed your mother’s advice?  
You wanna swap collections?  
(He chuckles and shakes his head)

SHERLOCK  
(chuckling too)  
Shut up John.

SHERLOCK turns to find MYCROFT in the doorway.

SHERLOCK  
What are you doing here?

MYCROFT  
Visiting of course. How are you, brother?

SHERLOCK  
You never visit. What do you want Mycroft? I don’t have time for games.

MYCROFT  
Neither do I.

SHERLOCK  
Just because you have a key doesn’t give you the right to just drop in here uninvited.

MYCROFT  
Sherlock, this gang is very dangerous. Not one you want to anger. Don’t go snooping. It won’t end well.

SHERLOCK and MYCROFT lock eyes.

SHERLOCK  
Says the man who would let Tilly travel into the belly of the beast.

MYCROFT  
She’ll be fine. She won’t be near danger. She promises it is preliminary work.

SHERLOCK walks into the kitchen and MYCROFT follows. SHERLOCK sits at his microscope, looking through the scope at a slide. MYCROFT opens his briefcase and takes out a photograph. He shows it to SHERLOCK.

MYCROFT  
Walter Patton. Not your average school yard bully. Patton served time for killing two men. The men were his friends. He shot his own brother who, unfortunately, survived.

SHERLOCK  
Shot his own brother? Hmmmm. I can’t fault him for that.(SHERLOCK looks up at and half-smiles at MYCROFT then goes back to the microscope)

MYCROFT  
It was contract work from your pal Jim Moriarty. Patton is part of the Haggerty gang.

SHERLOCK looks up at him and raises an eyebrow.

MYCROFT  
You’ve heard of them?

SHERLOCK  
Why don’t you share what you know? It would certainly help my investigation.

MYCROFT  
And you would tell me what you have?

SHERLOCK  
Of course. Full disclosure.

MYCROFT  
Bah. I don’t want to come rescuing you again. The Haggerty gang has roots in the Westies, one of the most brutal gangs in New York City. Big Gus Haggerty was once a member. He is no hometown petty criminal, Sherlock. He was deported and formed his own gang back home in Galway. The level of violence is unprecedented. And they are branching out, diversifying. Thanks to your pal Jim, they are now internationally known.

SHERLOCK  
Boring. Tell me something I don’t already know.

MYCROFT reaches into his briefcase again and pulls out a large manila envelope. He holds it out to SHERLOCK pulls off his safety goggles, snaps the envelope out of MYCROFT’S hand and walks into the parlor. 

SHERLOCK  
Ugggh.

MYCROFT  
Yes, indeed.

MYCROFT follows him into the parlor, pulls a plastic container of brownies out of his briefcase and hands it to JOHN. 

MYCROFT  
(to JOHN)  
Maggie sends her love.

JOHN goes into the kitchen and sets the brownies on a tray and carries it into the parlor. JOHN offers the tray to SHERLOCK and MYCROFT. They dismiss them.

SHERLOCK  
Where were these taken?

MYCROFT  
Clancy’s, the tunnels, various crime scenes.

JOHN  
(looking at the photos with them)  
These are truly the best brownies I’ve ever eaten. Your mother is an amazing cook.

MYCROFT  
Our stepmother.

JOHN  
Your stepmother?

JOHN looks quizzically at both men. MYCROFT smiles at JOHN. SHERLOCK looks to MYCROFT in anger.

SHERLOCK  
(agitated)  
Yes. Maggie is my stepmother.

JOHN  
Oh sorry. You never told me. Your mum, then? She’s dead?

SHERLOCK  
Technically no. She lives quite contently in a medically induced euphoria at Bethlem Royal Hospital. Apparently my presence, and most probably my existence, upsets her quite badly.

JOHN  
Well that explains a lot.

SHERLOCK  
What are you inferring John?

JOHN  
No, nothing. I'm just saying.  
Maggie is a wonderful woman.

SHERLOCK  
(Vacantly)  
Yes, she is, isn’t she?

SHERLOCK turns and walks into his room and shuts the door.  
JOHN looks stricken. He looks over to MYCROFT.

MYCROFT  
Sorry, John. I thought you knew. Our mother was sent to the institution shortly after Sherlock was born. Michael and Maggie married when Sherlock was still a baby.

JOHN  
Mycroft, I’m really sorry. I didn’t mean to upset him.

MYCROFT  
Our mother had some mental issues even when I was young. When she was pregnant with Sherlock, she was diagnosed with Chorea gravidarum, a rare form of psychosis. She became delusional, hallucinated and was prone to fits of violence. I was only seven when she went away.  
My father and I would visit her occasionally.  
Michael brought Sherlock with us to visit her once, when she seemed to be getting better; Sherlock was four or five.

FLASHBACK OF SHERLOCK AND MYCROFT AT AGES 5 AND 12. (MYCROFT VO):  
She was very sweet to us that day; animated; laughing and dancing with Sherlock and me. My father stepped out of the room to talk to the nurses. Mother’s laughing became harder and faster and louder as we danced. She stopped dancing suddenly. She had this dark brooding look in her eyes.  
She pushed Sherlock down on the settee and slapped him hard on the face several times and told him that he had ruined her. She started to choke him. I tried to pull him away but she was incredibly strong. I finally pushed her off of him and called for my father.  
She moved away but managed to throw several books and figurines from around the room at him before my father rescued us. She told Sherlock she wished he’d never been born, that he was the reason she was there. I could feel the hatred in her voice. It was frightening.  
And he just stood there watching her, listening to her berate him, disown him.  
When Michael ran into the room, she picked up a piece of broken ceramic and sliced her wrists - right in front of us. It was horribly bloody.  
(pause)  
Sherlock was stoic. He never spoke of her again.  
Maggie's the only mother he's known.

JUMP BACK TO:  
INT 221B PARLOR

The room is quiet. JOHN looks over to the bedroom.

MYCROFT  
Well, then. I’ve got to get back. He’ll be fine; give him a while. Call me if you think he won’t be fine? Good to see you John.

JOHN nods goodbye.

JOHN  
Thanks for the brownies.

MYCROFT exits.

INT. PARLOR – a short time later.

SHERLOCK is tacking pictures from the manila folder to the parlor wall above the mantle. JOHN looks on.  
We see pictures of WALTER with members of the Haggerty Gang. Pictures of Clancy’s pub with the gang in the snug, and Gaelic symbols/text found in areas around London. There are pictures of extreme violence and destruction. Dead bodies. Burned homes.

JOHN  
What do you mean, you wish you could discuss this with him? Geoffrey?

SHERLOCK  
You know he spoke fourteen languages, nearly all fluently. His parents taught languages at Columbia in New York City. Irish was his favorite. It was their connection back to their hometown.

JOHN  
You’ve got Tilly. She speaks Irish.

SHERLOCK  
Bah. She’s more trouble than help. She went through my notes and found out about the investigation. Now she’s off on an adventure in search of “the truth” (he air quotes). She’s planning to write about what happened to Geoffrey since her last piece about him. If she doesn’t get herself killed.

SHERLOCK  
(to himself, pointing to each picture)  
Very good Mycroft.  
(to JOHN)  
My brother may think he’s thorough, but he’s never been one to do the legwork.

SHERLOCK gets on his computer. Going back and forth between the photos and his computer he continues…

SHERLOCK  
There’s a lab in Spain.  
(turns to JOHN)  
I need you to go to Spain.

JOHN reacts.

JUMP CUT TO:

SMALL PLANE TAKES OFF FROM HEATHROW THAT NIGHT

CUT TO:  
INT. Bart’s morgue – NIGHT

LESTRADE  
Where’s John?

SHERLOCK  
I don’t keep his calendar.

LESTRADE  
I was hoping you’d both come.

SHERLOCK  
Needing someone to take notes?

LESTRADE  
I was hoping. Yea, well here’s the situation.

LESTRADE shows SHERLOCK the remains of two dead men. They are SEAN and DANNY.

LESTRADE  
Two perfectly healthy men found dead this morning.

SHERLOCK  
They don’t look very healthy to me.

LESTRADE  
Yah, well, their bodies were found down by the docks.

LESTRADE hands SHERLOCK several pictures of the crime scene.  
LESTRADE  
No signs of a struggle or trauma. Both had a head wound - probably pistol whipped, but the amount of force wouldn't have been enough to kill either of them.

SHERLOCK  
So why are they dead?

SHERLOCK studies the photographs.

SHERLOCK  
They were laid out here, not just dumped. They died somewhere else.

LESTRADE  
(handing SHERLOCK a file folder)  
The coroner’s report showed scant traces of something in both men. She can’t determine what it is. Can you help?

SHERLOCK studies the report.

SHERLOCK  
Show me their belongings.

MOLLY comes in carrying their personal things. SHERLOCK moves between the two corpses, checking the reports, and examining their belongings.

SHERLOCK  
They look very similar; possibly related. Where is the DNA report?

MOLLY goes through the paperwork and hands him the report. SHERLOCK doesn’t take it. He is examining the bodies.

SHERLOCK  
BCG marks are from before 1970, judging by the size of the scar.  
They are late 30s, early 40s.  
Most likely Irish.

SHERLOCK takes the report from MOLLY and starts reading it.

LESTRADE  
Irish?

SHERLOCK  
Yes, their clothes are Louis Copeland.

LESTRADE  
Well, you’d know that wouldn’t you?

SHERLOCK  
Good choices in clothes; bad choices in associates, I imagine. So, two men from Ireland, traveled to London from Spain.

LESTRADE  
Spain? How do you know that?

SHERLOCK  
(holding up a piece of paper and inputting information into his mobile)  
Receipt from an airport coffee shop in his pocket. Dated two days ago. Almeria. How cozy.

LESTRADE  
Cozy?

SHERLOCK  
Yes, we’ve got some connections to Almeria already.

SHERLOCK snaps his mobile off.

CUT TO:

INT. 221B BAKER ST KITCHEN - MORNING

SHERLOCK is on the stool in his kitchen, working at his microscope. He looks up. Sees JOHN in the landing outside the kitchen. JOHN puts a suitcase down outside the kitchen door and enters the kitchen.

SHERLOCK  
You’re late. I expected you home yesterday. Did it go badly?

JOHN  
The flight was the worst of it. I’m still a bit foggy. Lots of snifflers onboard.  
(He holds up a tube of “AIR-BORNE.”)

SHERLOCK  
Did you find Walter?

JOHN  
I’m not sure. I did find his lab.

SHERLOCK looks at him.

JOHN  
It was abandoned. Looked like they either left quickly or it had been raided. I think they may have been tipped off. They left a lot of evidence behind. Files, inventory. Maybe Mycroft told someone else that I was going?

SHERLOCK  
Hmmm. Did you get any samples?

JOHN  
Yah, quite a few. They were messy chemists. I got some tubes and dishes to test too. I couldn’t get into the inventory room.

SHERLOCK  
Good. Here, put them in this tray. Did you get any photographs?

JOHN waves his new phone at SHERLOCK.

JOHN  
Some. I hope they turn out. I think one of the men might be Walter.

SHERLOCK has taken JOHN’s new phone and is inspecting it.

SHERLOCK  
This is the newest version? Nice. It’s much lighter.  
(He bounces it in his hand. Scrolls through camera roll)

JOHN  
This one. I think this is him. Walter Patton.

SHERLOCK  
Yes. Good.

He hands the phone back to JOHN and sits back at the microscope.

SHERLOCK  
Send them to me. And label them.

JOHN opens his suitcase in the hall. He lifts up some of his clothes off the top, which were padding the glassware. He cradles them in one arm, while moving the samples and equipment onto the tray. 

He finds the lids of two of the small glass jars have come off and the cream inside has leaked into his suitcase. 

The spilled cream has gotten on his hand. He looks to wipe it off, and finds the clothes he was holding, and the shirt he is wearing are smeared with the cream.

JOHN  
Great.

JOHN puts the clothes back in the suitcase, and looks at his hands. He wipes them on the shirt he is wearing.

JOHN  
(from the hallway)  
I didn’t like walking around there unarmed, Sherlock.

JOHN enters the kitchen carrying the tray. 

JOHN  
That place is like the Wild West.

SHERLOCK nods to him, paying him no mind. 

JOHN  
I mean it. I saw some crazy things. And lots of guns.

JOHN hands the tray to SHERLOCK and heads upstairs to his bedroom. 

CUT TO:  
INT JOHN’S BEDROOM

JOHN unpacks his bag, sorting his clean from his dirty clothing. He is wiping his brow several times. He is obviously uncomfortable. He finishes unpacking and sits on the bed looking exhausted. 

He pulls out his phone and sends each photo to SHERLOCK, identifying anyone and anything he can. He is laboring over this and is visibly uncomfortable. He checks the photo tags against his written notes. He hits the final send, grabs the toiletry bag from his suitcase, his dressing gown and towel and heads downstairs.

INT KITCHEN

SHERLOCK has been in the kitchen, already testing the samples. JOHN appearing physically antsy, enters carrying his bathroom things.

SHERLOCK  
(to himself)  
Glufosinate? Why would they be using a pesticide?

JOHN  
(a bit hyper)  
Nasty stuff, that Glufosinate. You know it can set off violent behavior. And it can cause brain and hormonal damage.

SHERLOCK is surprised at JOHN’s knowledge.  
JOHN enters the bathroom and closes door.

JUMP TO:

INT BART’S MORGUE

MOLLY hands a file folder to TILLY.

 

TILLY  
Thank you, Molly. Mycroft said you’d be a big help. I need to get this paperwork squared away before I head home.

MOLLY  
Home? You’re leaving?

TILLY  
Not just yet. I need to settle some scores here first.

MOLLY  
(hesitantly)  
So, are you staying with your boyfriend?

TILLY  
Boyfriend?

MOLLY  
Sherlock.

TILLY laughs. MOLLY looks at TILLY suspiciously.

TILLY  
(amused)  
Sherlock? No. Not hardly. You think Sherlock is my boyfriend?

MOLLY smiles a more confident smile.

MOLLY  
Well, I just thought…

TILLY  
I lived with my brother and Sherlock for quite some time a few years back. That’s enough for a lifetime.

MOLLY  
(smiling)  
Oh, I see. Well then, good luck with all this. I’m sorry about your brother.

MOLLY watches TILLY walk down the corridor. MOLLY is hugging herself and smiling.

JUMP BACK TO:

221B KITCHEN: 

SHERLOCK  
(looking at his watch)  
John, do you want some tea?

No answer.

SHERLOCK puts kettle on, and settles back in to his work. He makes tea for himself and JOHN.

SHERLOCK  
John, tea.

CUT TO: 

Time has passed. SHERLOCKS teacup is empty. He notices JOHN’s cup is still there and full. He looks at his watch again.

SHERLOCK  
(yelling upstairs)  
John, do you want tea?

No answer. 

While he waits for the test results he sits in a chair at the table and checks the pictures JOHN sent. He looks quizzically at one of them. (It is a picture of the CHEMIST in Spain and WALTER)

SHERLOCK  
(yelling upstairs again)  
John, who’s the man with the beard? The one standing with Walter?

No answer.

SHERLOCK sends the question as a text to JOHN’s phone. 

A moment later, SHERLOCK hears JOHN’s phone text alert. It is coming from the bathroom. SHERLOCK, remembering JOHN had been in the bathroom, checks his watch again.

SHERLOCK  
John?

No answer.

SHERLOCK approaches the bathroom door. He knocks.

SHERLOCK  
John, are you in there?

No answer.

SHERLOCK opens the door. It is blocked. He puts his phone in his trouser pocket.  
He pushes hard and can see JOHN's naked body slumped against the door. He pushes the door open enough to squeeze in. 

INT BATHROOM

He looks around and realizes that JOHN never got into the shower. He kneels down and takes his pulse. 

(Floating on-screen text, accompanies the evidence in JOHN’s features.)  
OST: Sweat.  
OST: Puffy eyelids.  
OST: Rapid breathing.  
OST: Rash on torso  
OST: Dried cream on arms, face and hands  
SHERLOCK lifts JOHN’s eyelid.  
OST: Blood shot eyes.

SHERLOCK opens his phone and searches through his contacts. He gives off an agitated grunt and drops his phone. He looks around and sees JOHN's phone on the edge of the sink. He picks it up. He scrolls through the contacts and hits a number.

SHERLOCK  
Mike? Sherlock Holmes. Come to 221B immediately. Bring your doctor bag. Something's wrong with John.  
(pause)  
(agitated, he yells into the phone)  
Just come now!

SHERLOCK drops the phone onto the pile of JOHN’s discarded clothing. He picks up his own mobile and puts it in his pocket. He slides open the secondary bathroom door that leads directly into his bedroom. 

INT KITCHEN

MRS. HUDSON enters 221B Baker St. She is carrying a small bag of groceries. She plops it down on the table and looks around.

MRS. HUDSON  
Hello?

SHERLOCK  
(urgently)  
Mrs. Hudson, I need your help!

MRS. HUDSON appears in the bathroom doorway.

MRS. HUDSON  
What’s happened Sherlock?

SHERLOCK  
I don’t know. He’s just gotten back from Spain this morning.

INT BATHROOM AND THEN SHERLOCK’S ROOM

SHERLOCK grabs JOHN's dressing gown, covers him with it, struggles to lift him and carries him into the bedroom, laying him on SHERLOCK’s unmade bed. 

JOHN groans. 

SHERLOCK rolls him on his side and feels his forehead. He is feverish. He walks to his dresser and pulls out pyjama pants and a tee shirt. 

SHERLOCK  
Help me.

SHERLOCK and MRS. HUDSON struggle to dress JOHN. They can't get the tee shirt on him. 

SHERLOCK goes back to the dresser and finds a button down pyjama top and gets him dressed. 

He straightens him out and MRS. HUDSON tucks the covers around him.

SHERLOCK lifts JOHN’s arm, pushing up the sleeve, checking for anything unusual, and then the other. He notices a crusty substance on his arms, hands and face. His skin around the crusty spots is red and rashy. He sits JOHN up and checks his neck and hair. 

JOHN moans as SHERLOCK moves him around. 

SHERLOCK pulls up his top and checks his back. JOHN is in pain and pulls away.

SHERLOCK pulls the pillow up, grabs the other one from the bed, tucks them behind JOHN and leans him into a sitting position. He pulls up the pyjama top, exposing JOHN’s chest. 

Nothing unusual. There is some redness on his stomach area, but no crustiness.

SHERLOCK looks flustered. He straightens up and starts walking around the room. He seems stumped.

Loud knocking at the door. 

 

MRS. HUDSON  
I’ll get that.

MRS. HUDSON leaves to answer the door. SHERLOCK stares at JOHN.

MIKE STAMFORD enters the bedroom, carrying his case.

MIKE  
Doorbell not fixed yet, I see.

SHERLOCK  
(to MIKE, ignoring his comment)  
I found him unconscious on the bathroom floor. He’s got a rash and maybe a fever.

MIKE starts right in, checking on JOHN. 

SHERLOCK puts on a mask and gloves and goes up to JOHN’s room.

CUT TO:

INT. JOHN’S BEDROOM –

SHERLOCK does a scan of the room. WORDS FLOATING ONSCREEN. JOHN’s suitcase is on the bed. Wedding pix of JOHN and his late wife MARY. Pix of JOHN’s family. Closet door open, one or two of the dresser drawers are open. Contrast to JOHN’s normally militant cleanliness.

SHERLOCK kneels and scans the pile on the floor. ON SCREEN FLOATING WORDS. He lifts an article of clothing off the pile of dirty clothing on the floor. He notices a dried white substance on JOHN’s clothes, and oily smears on the suitcase. He sniffs it.

SHERLOCK  
(aloud to himself)  
You’ve been careless, John.

CUT TO:  
SHERLOCK’s BEDROOM  
SHERLOCK enters  
MRS. HUDSON  
Dr. Stamford what is going on?

MRS. HUDSON reacts to SHERLOCK in protective gear.  
MIKE takes note of SHERLOCK and puts on a mask.

MIKE  
I can’t tell, Mrs. Hudson. You better stand back.  
(to SHERLOCK)  
Maybe he fell and hit his head?

MIKE directs his exam to JOHN’s skull and neck.  
SHERLOCK is calm and pacing the room, thinking.

SHERLOCK  
No outward signs of head trauma.

MIKE  
How long has he been out?

SHERLOCK  
I don’t know.

FLASH CUT TO:

FLASHBACK: SHERLOCK remembers looking at his watch.

FLASH CUT TO:  
SHERLOCK’s BEDROOM

SHERLOCK  
At least an hour and a half. Two cups of tea.

MIKE is checking JOHN’s skin on his face and arms. He looks confused and takes out a small magnifier and rechecks the arms. He looks at his eyes and ears. 

SHERLOCK is still pacing.

MRS. HUDSON  
(to MIKE)  
What is wrong?

MIKE  
Don’t know. His color isn’t good.

SHERLOCK  
For gods sake. Give me that.

SHERLOCK grabs the magnifier from MIKE. He examines the dried residue on JOHN’s arm.  
He drops the magnifier on the bed and walks out of the room. He walks back in with a tweezer and glass slide and scrapes the dried cream onto the slide.

SHERLOCK  
I’ll need blood samples.

MIKE  
We’ve got to bring in him for testing.

SHERLOCK  
No.

MIKE looks surprised.

SHERLOCK  
No, he won’t go to hospital. We need to avoid that.

Pause, while SHERLOCK looks at JOHN and thinks, fidgeting.

SHERLOCK  
Can’t you take his blood here? You have to.

MIKE  
Sherlock, he is really sick.

SHERLOCK and MIKE stare at each other.

MIKE  
(hesitant)  
This is very unethical.

SHERLOCK  
(politely)  
Please?

MIKE considers the plea.

MIKE  
Okay, but I’ll have to go to get supplies. Don’t leave his side. I’ll be back soon. You’ve got my number?

MIKE feels JOHN’s forehead and leaves the flat.

MRS. HUDSON  
Sherlock, you really should put him in…

SHERLOCK  
No! He won’t go.

MRS. HUDSON  
The war was a very different time, different circumstances. This is an illness. We don’t even know what’s wrong with him.

JOHN moans. 

MRS. HUDSON sits on the edge of the bed and feels his head. She goes into the bath and wets a cloth.  
MRS. HUDSON puts the cool cloth on JOHN’s forehead.

MRS. HUDSON  
What do you think, Sherlock? The flu? Some kind of virus?  
His breathing is calmer now. Do you have another blanket?

SHERLOCK opens his closet and pulls out 2 blankets. He and MRS. HUDSON tuck them around JOHN. SHERLOCK is pacing, his brain processing.

CUT TO:

PARLOR AND THEN KITCHEN

SHERLOCK goes to the parlor and puts on his coat, but realizes he needs the blood samples first. He slips off his coat and sits at his microscope in the kitchen looking at a book on the table.  
There’s a loud knock.

CUT TO:

SHERLOCK runs down and opens the door. 

CUT TO:

INT. SHERLOCK’S BEDROOM – SHORTLY LATER

MIKE and SHERLOCK enter the bedroom with several boxes and medical equipment.

SHERLOCK and MIKE work together to set JOHN up. 

MIKE ties a strap around JOHN’s arm and finds a vein. He takes 5 tubes of blood. JOHN is asleep the whole time.

MIKE shakes JOHN awake.

MIKE  
John. John. You tell them if you are not feeling better or if you feel worse.

JOHN nods.

MIKE  
(to SHERLOCK and MRS. HUDSON)  
You too. You both may be exposed.

MIKE nods to both of them and starts out of the room.

MIKE  
I’ll call later to check in.

JOHN moans. MIKE walks over to him and squeezes his arm. JOHN opens his eyes and looks vacantly toward MIKE.

MIKE  
You okay?

JOHN nods a weak yes.

MIKE  
Tired?

JOHN nods and smiles a weak smile. MIKE rubs his head.

MIKE  
Sleep.

MIKE looks at SHERLOCK and nods his head to follow him out of the room. SHERLOCK follows.

INT. KITCHEN-

MIKE  
(removes his mask)  
I’m really nervous about this Sherlock.

SHERLOCK  
(looking down on MIKE)  
We’ll take good care of him.

MIKE  
But we don’t even know what we are dealing with. This could be a very contagious situation.

SHERLOCK  
Which is why he’s better off staying here with you.  
(SHERLOCK removes his mask)  
Hospitals are breeding grounds for viruses.

SHERLOCK grabs the tubes of JOHN’s blood and makes a quick exit.

MIKE  
(shouting after him)  
With ME? But Sherlock, I have to get back to the hospital.

We hear MIKE’s speech trail off as SHERLOCK gets farther from 221B Baker St.

CUT TO:

INT. BART’S LAB

SHERLOCK pulls out his phone, searches for “MIKE STAMFORD” in his contacts and it comes up empty. He realizes he doesn’t have MIKE’s number in his contacts.

SHERLOCK  
Molly, do you have Mike Stamford’s mobile?

MOLLY  
Sorry, no, call the switchboard.

SHERLOCK dials JOHN’s phone. It goes to voicemail.  
SHERLOCK dials JOHN’s number again. Again, it goes to voicemail.

SHERLOCK  
Aaugh.  
SHERLOCK yells at the phone  
Mrs. Hudson, answer the phone!  
MOLLY jumps at the yell. SHERLOCK dials again

MRS. HUDSON  
Hello?

 

SHERLOCK  
Mrs. Hudson, how is he?

MRS. HUDSON  
He’s asleep again, if you can believe it. Doctor Stamford and I tried to get him to drink some water, but he didn’t take it. Sherlock, he needs some fluids. Maybe he should be in hospital?

SHERLOCK  
(hurriedly)  
No. Can you put the phone to his ear and let me talk to him?

JUMP CUT TO:

INT SHERLOCK’S BEDROOM

MRS. HUDSON shakes JOHN. He opens his eyes slightly and puts his hand up to block the light.

MRS. HUDSON  
John, Sherlock wants to talk to you? Can you speak with him?

She holds the phone to his ear. JOHN is silent.

SHERLOCK  
John. John, can you hear me?

JOHN nods his head in the affirmative.

MRS. HUDSON  
(using the phone like a walkie-talkie)  
He said, “yes.”

MRS. HUDSON returns the phone to JOHN’s ear.

SHERLOCK  
John, can you remember any chemicals they had at the labs? Were there any large buckets or jugs that you can remember specifically?

JOHN nods his head no.

MRS. HUDSON  
(Yelling to the phone)  
He said, “No.”

She returns the phone to JOHN’s ear.

JUMP CUT TO:

INT BART’S LAB

SHERLOCK is frustrated, yelling into the phone; MOLLY is watching him.  
SHERLOCK  
Mrs. Hudson, take the phone.  
Pause, then SHERLOCK yells  
Mrs. Hudson!

JUMP CUT TO:

INT SHERLOCK’S BEDROOM

JOHN is jolted by the yell and looks up to MRS. HUDSON and she returns the phone to her ear.

MRS. HUDSON  
Sherlock?

SHERLOCK  
Get him to drink something.

MIKE has been watching this exchange. He grabs the phone out of her hands. He is still wearing his mask and gloves.

MIKE  
Sherlock, don’t fight me on this. If I make the decision to move him, you will support me.

He walks out of the room with the phone.

IN THE KITCHEN-

MIKE  
I need to do more tests.

SHERLOCK  
If we must bring him in, the police won’t get involved unless I say so.

 

MIKE  
I can’t promise that.

JUMP CUT TO:

INT BART’S LAB

SHERLOCK hangs up. He looks flustered.

MOLLY  
Is John okay? Do you need me to run anything for you?

SHERLOCK  
No. But can I have the drug and toxin reports on those two men again? Sullivan was the name. I’ll need copies.

CUT TO:

INT. SHERLOCK’S BEDROOM

SHERLOCK enters his bedroom. He is carrying another box from the hospital. MIKE is at JOHN’s side. 

SHERLOCK  
Where is Mrs. Hudson?

MIKE  
She said she had to go.

SHERLOCK  
John’s been drugged.

MIKE looks up at SHERLOCK questioning.

SHERLOCK  
I don’t know how or when, but he’s got some powerful narcotics in his system.

MIKE looks shocked and puzzled.

MIKE  
Drugs?

SHERLOCK  
Nearly enough to kill him.

 

MIKE  
What drugs?

SHERLOCK  
Not sure exactly. Help me here. We need to get him hydrated.

They work together to set JOHN up. SHERLOCK jerry-rigs a rope hook over the door hinge to hold the bag up. It wasn’t long enough to reach the bed. He looks around the room and walks over to the closet. He opens the closet and pulls his belts off a hook. He removes the hook from the closet wall and twists/screws it high into the wall above the headboard and hangs the bag from it. This set up works. 

MIKE  
We’ll need to bring in a forensics team.

SHERLOCK  
No.

MIKE  
What?

SHERLOCK  
No, I’ll do it. No police. Not yet.  
(He looks at his watch)

MIKE  
Sherlock, I’m obligated to report this.

SHERLOCK  
I said, I will take care of it.

They stare again.

SHERLOCK  
(softening)  
Look, I have time right now to do this. Why call the police and wait around for them to show up? I can get it done much faster and then we can call them. Okay?

MIKE  
Fine. Who would drug John? Why? How?  
You said he was in Spain. Perhaps airborne chemical warfare?

SHERLOCK gives MIKE an ominous look. He nudges JOHN.

SHERLOCK  
John, wake up. John.

JOHN opens his eyes.

SHERLOCK  
Can you talk, John?

JOHN looks blankly at SHERLOCK. He makes a “don’t make me” face to SHERLOCK.

SHERLOCK  
Please try. John, you’ve been drugged. This isn’t the flu. Do you remember anyone bumping you at all on the trip home?

JOHN nods no.

SHERLOCK  
(frustrated)  
Think John. Think. You were carrying one suitcase and a bag. Did anyone jostle you or bang into you? How did those drugs get inside you John? Did you drink anything?  
(He speaks louder to JOHN, while pacing the room)  
Did anyone offer you a drink? Did you carry anything in your luggage?

JOHN just keeps nodding no.

SHERLOCK  
Oh!

SHERLOCK throws on his mask again.

CUT TO:

INT JOHN’S BEDROOM then KITCHEN then 221B ENTRYWAY

SHERLOCK enters JOHN’s room. He returns to the kitchen with JOHN’s suitcase, puts the suitcase inside a rubbish bag and heads down the stairs with the bag to exit the building.

CUT TO:

MRS. HUDSON’s voice off screen – front hallway of 221B

MRS. HUDSON  
The very meaninglessness of life forces man to create his own meaning. Don’t you agree, Sherlock?

SHERLOCK is at the bottom of the stairs. He turns and over his shoulder sees a completely naked MRS. HUDSON in the hallway. She is very groggy.

SHERLOCK  
Mrs. Hudson.

MRS. HUDSON  
(groggy but lilting, dancing around)  
Let us loosen our hair tomorrow and go fishing, Sherlock.  
We’ll take it moment to moment before we become bugs in amber. (pause) I don’t know what’s come over me. I’m so…I need to lie down.

She collapses in the hallway. SHERLOCK puts down the luggage and kneels in front of her. She regains consciousness.

SHERLOCK  
Mrs. Hudson, what do you feel?

MRS. HUDSON  
(lucid)  
The most terrifying fact about the universe is not that it is hostile but that it is indifferent, don’t you think?

MRS. HUDSON is again unconscious. Looking around for something to cover her body, SHERLCOK is distracted by a rash on her forearms and hands.

SHERLOCK  
(yells upstairs)  
Mike!

SHERLOCK takes out his magnifier to examine her.  
MIKE arrives at the foot of the stairs. Shocked by the scene.

SHERLOCK  
(to an unconscious MRS. HUDSON)  
What is happening, Mrs. Hudson?

 

MIKE(V.O.)  
(Answering SHERLOCK)  
She cleaned up John’s things in the bath and answered his phone.

JUMP CUT TO:

FLASHBACK: INT. BATHROOM

MRS. HUDSON is in the bathroom to clean up JOHN’s things from the floor. At that moment JOHN’s phone rings. It is SHERLOCK calling from the previous scene. The ring is something silly – perhaps some Hobbit music? 

MRS. HUDSON searches through the pile of clothes to find the source. She gets cream on her hands and forearm. She looks disgusted and misses the call. 

The phone rings a second time. Not wanting to dirty the phone, she looks for something to clean her hands on. The call ends. She’s missed it again. 

The phone rings again and she answers.

JUMP CUT TO:

INT. 221B – FRONT HALLWAY

MRS. HUDSON standing in her pale pink chenille robe. MIKE has his arms around her, holding her up.

SHERLOCK is struck with an idea.

SHERLOCK  
You touched his clothes and phone. Touch. The drug isn’t ingested. It’s absorbed through the skin. Oh!  
Where are his things?

MIKE  
Hanging in the bath.

SHERLOCK and MIKE walk her up the stairs. 

CUT TO:

INT PARLOR

They lay her on the couch. SHERLOCK grabs the blanket from the chair beside the couch and covers her.

SHERLOCK  
(talking to a disoriented MRS. HUDSON)  
I’m going to keep you up here for a while.

MIKE  
(to SHERLOCK)  
John’s fever is down, but not gone. You need to change each fluid bag before it runs out.

SHERLOCK squats down and rubs MRS. HUDSON’s hands.

SHERLOCK  
I’m sorry Mrs. Hudson. You’ll be all right in here. Shout if you need me.

CUT TO:

INT KITCHEN

SHERLOCK is in the kitchen working on the drug samples from JOHN’s suitcase and the slides with the smudges from his skin. He hears a noise from the parlor and goes in to check on Mrs. H. 

CUT TO:

INT PARLOR

She is sleeping soundly. (light snoring) No signs of trouble. He adjusts the blanket over her and turns off the light.

CUT TO:

INT BEDROOM

SHERLOCK goes into the bedroom to check on JOHN. He turns off the light on JOHN’s side of the bed. He sees that JOHN has both bed pillows so he goes over to the closet to grab an extra pillow. He bends down to pick up all the belts he threw down from the hook earlier. 

The box of Geoffrey’s things, the one that NEVILLE gave to him in a previous scene, is sitting on the floor of the closet. He puts the belts in a neat pile and picks up the box and the pillow.

SHERLOCK sits on the bed. He sits back, with the pillow against the headboard. He opens the box. 

There are pens, pencils, a knit hat, an empty glass jar identical to the jars in JOHN’s suitcase, loose pages, a book FLOWERS FOR ALGERNON by David Keyes and journals.

He picks up the jar and reads the label. In bold letters it reads, “ A little dab’ll do ya.” He smiles, not realizing what this is.

He picks up FLOWERS FOR ALGERNON by David Keyes and leafs through it. There are markings on the pages. He takes one of the journals and rubs the cover. He sees there are dates on the front. There are 5 journals. He takes the earliest dated and opens it.

GEOFFREY (writing)  
“Tilly, I’m so sorry. Thank you for the journal. I’m going to try to write everyday. Maybe I can write some sense into myself. Let’s hope.”

SHERLOCK stops reading. His eyes fill. He selects a new journal and continues reading.

 

GEOFFREY (writing)  
“I can’t believe I live in a fucking sewer, although you might think it a step up from our flat.”

SHERLOCK smiles.

He picks up the journal with the most recent date and opens it. He flips through it and reads some passages:

JUMP CUT TO:

FLASHBACK: EXT. LONDON STREET – DAY – FROM JOURNALS

SHERLOCK and JOHN are crossing the street.

 

(GEOFFREY - SCROLLING WRITTEN TEXT)  
“I saw you today with that same man. You seem content. You must be busy.”

JUMP CUT TO:

FLASHBACK: INT. LONDON TUNNELS - DAY

WALTER is approaching homeless addicts. They shake their heads no, because they can’t pay. He convinces them to take sample drugs for free. He writes a lot of stuff on a clipboard.

(GEOFFREY - SCROLLING WRITTEN TEXT)  
“People are getting handouts! I’m pretty sure it’s coming from Spain. Some of the writing is Spanish. How exotic.”

JUMP CUT TO:

FLASHBACK: INT. LONDON TUNNELS – DAY

(GEOFFREY - SCROLLING WRITTEN TEXT)  
”The man with the clipboard came back today, to ask how I was feeling. Why would he care? He gave me another jar. Warned me to use just a dab”

 

FLASHBACK: INT. LONDON TUNNELS – DAY

 

(GEOFFREY - SCROLLING WRITTEN TEXT)  
Where are you Sherlock? Something strange is happening. This place is turning into a mini Uni. Some of these folk are spouting poetry. It’s really creepy.

JUMP BACK TO:

INT. 221B BAKER ST. – SHERLOCK’S ROOM

POV SHERLOCK READING THE FINAL JOURNAL ENTRY.

GEOFFREY’S HANDWRITING  
I don’t know what’s come over me. I need to get more cream.  
(writing ends)

SHERLOCK closes the journal. He sits with his eyes closed for a while. He gives a big sigh.

INT. 221B BAKER ST – SHERLOCK’S ROOM – NIGHT

SHERLOCK has fallen asleep. He is awakened by text alert on his mobile. We see it is MOLLY. SHERLOCK notices JOHN is missing. The IV line is dangling from the hook.

OST  
(MOLLY)  
John is here. I need your help.

CUT TO:

INT. ST. BART’S LABORATORY – LATE NIGHT

SHERLOCK enters the laboratory, and is greeted by a blushing MOLLY. She nervously giggles and points SHERLOCK towards JOHN, while averting her eyes.

JOHN is sitting at the microscope. He is naked.

SHERLOCK  
John.

JOHN  
Come see this Sherlock.

SHERLOCK coolly walks over to the table.

 

JOHN  
Look at this slide. It’s psilocybin. This is what was in my system this morning. And Dimethyltryptamine. You knew about this?

SHERLOCK looks at him.

JOHN  
These are the slides you had set out. It’s me, isn’t it?

SHERLOCK nods, impressed.

SHERLOCK  
Very good, John. Very good indeed.  
Botany is not my strongest field; I was just assessing. How did you figure that out?

JOHN  
Elementary, my dear Holmes.

SHERLOCK smiles. JOHN passes out on the table. SHERLOCK catches him.

CUT TO:

INT. 221B BAKER ST – SHERLOCK’S ROOM

POV JOHN’s eyes. Camera lens is out of focus, implying grogginess.

JOHN, in his groggy state, hears loud, garbled voices coming from the kitchen. JOHN extends his arm into view to block the light. He notices the IV in his arm. As he sits up disoriented, the IV pulls out. The bag swings into the lamp, and knocks it over.

ENTER SHERLOCK, MIKE and LESTRADE. 

There are members of LESTRADE’s forensics team working in the apartment and in the bathroom. 

SHERLOCK’s room is set up the same way as previous scene. Geoffrey’s box, with the journals, is still on the bed.

POV JOHN, SHERLOCK approaches the lens/JOHN’s face.

SHERLOCK  
Lie back down.

SHERLOCK pushes JOHN back onto the pillow and takes his pulse.

POV JOHN. The blurry lens (JOHN’s eyes) comes into focus. We see SHERLOCK’s face get closer.

SHERLOCK  
John, you’ve been drugged.

JOHN  
Drugged? How?

MIKE  
(erupts)  
Uh, yeah! Twice!  
(to LESTRADE)  
He should have been in the hospital yesterday.

SHERLOCK  
Shut up.

LESTRADE  
Sherlock, we had to wait until Dr. Stamford called us in. John could have died.

JOHN  
What’s going on?

SHERLOCK  
We’re trying to find out what drugs are in yours and Mrs. Hudson’s system.

JOHN  
Mrs. Hudson?!

SHERLOCK  
Don’t worry she’s fine now. Her reaction was minimal, but helped me figure that the drugs were probably on the things you touched. Stay in here John, until we figure this out. Your room might be contaminated.

SHERLOCK exits. 

The three of them are left in SHERLOCK’s wake. JOHN notices the forensics team in the bathroom. Shoots a glance to MIKE. He shrugs.

CUT TO:

INT NEW LAB IN SPAIN – BACK ROOM WHERE CHEMIST IS HELD CAPTIVE

The door to back room opens. A man, ALFONSO, walks in and cuts the tie wrap that is holding the CHEMIST’s wrist to a steam pipe running up the wall. There is an empty breakfast tray sitting on the mat beside him.

 

ALFONSO  
Enjoying your new room, Professor? Well, it’s time for work.

CHEMIST  
Listen, Alfonso, can you get a message to my wife for me? Tell her I’m okay?

ALFONSO  
(Kindly patting the CHEMIST’s back)  
Sorry Professor, you’ll have to talk to them about that.

CHEMIST  
Alfonso, just a note. Please?

ALFONSO laughs and escorts him into the work lab. WALTER is standing there.

WALTER  
Ah, good morning, Professor. I hope you slept well. We’ve got lots of important work to get done today.  
Some of these lovely lotions you’ve created seem to have some nasty side effects.  
(poking the CHEMIST’s chest)  
Basically, you’re killing our test models. You’ve got to do better than this if you want to see your family anytime soon.

WALTER holds up pictures of the CHEMIST’s wife and family inside their home. There are pictures of them in bed sleeping.

CHEMIST  
You leave them alone!

WALTER  
Don’t you worry Professor. You do your job right and you’ll be home playing with those sweet girls soon enough. (Pointing to a picture of a young teen girl) That oldest one, Nina, is it? She is budding into quite a lovely young lady.

CHEMIST  
(seething)  
I’ll kill you.

WALTER slaps him hard across the face. The CHEMIST’s mouth bleeds.

WALTER  
Get to work.

CUT TO:

INT 221B BAKER ST – SHERLOCK’S ROOM – LATER SAME DAY

JOHN is lying on the bed reading a journal. SHERLOCK enters.  
SHERLOCK sees JOHN. JOHN looks up at SHERLOCK, who is lunging toward him.

SHERLOCK  
What the hell are you doing?! Give me that!

SHERLOCK grabs the journal and yanks it away.

SHERLOCK  
How dare you! Those are personal.

JOHN  
I’d say so.

SHERLOCK is angry, as he collects the books and items from the bed and slams them into the box. He keeps the journals and book ‘Flowers for Algernon” on the bed. He quiets down and gently closes the lid. He sits on the bed next to the box for a moment.

SHERLOCK  
(calmly)  
You know he helped with the case. Geoffrey. He knew what was going on down there in the tunnels. He wrote about it in these journals. I’m just piecing it all together…

JOHN  
(voice still raw)  
Sherlock stop right there. Beating yourself up isn’t going to make anything different.  
(big pause)  
He writes about us several times. I’d say he was keeping track of you too.

SHERLOCK pretends to ignore the remark, stands and puts the box back in the closet.  
He walks into the parlor and MYCROFT is standing there.  
Without saying a word, MYCROFT goes over to SHERLOCK’s computer and opens to a website.

MYCROFT  
We’ve traced them to this web site. It is legitimate. We’ve ordered and tested the products. They all check out.  
There’s something we’re missing.

SHERLOCK  
hmm.

MYCROFT  
You see it, don’t you?

SHERLOCK  
Of course

MYCROFT  
Designer drugs?

He turns to SHERLOCK. They share an ODD knowing look.

MYCROFT  
They won’t tolerate a penny-ante amateur detective prying into their business.

SHERLOCK makes a face to MYCROFT.

MYCROFT  
You’ve already seen what it’s like to be wearing their designs.

CUT TO:

INT 221B BAKER ST – OUTSIDE JOHN’S BEDROOM – LATE SAME DAY

LESTRADE  
John, you’ll need to stay out until we can clean it all. We can’t risk a similar reaction if you touch anything contaminated.

JOHN  
Can’t I just take some clothes from that second drawer? I’m pretty sure I didn’t put anything back into that drawer.

LESTRADE  
Sorry John, can’t risk it. And your memory of what you did is too fuzzy. Didn’t Sherlock offer to loan you some things?  
(He looks down at JOHN’s outfit – very large pyjamas)

JOHN  
How much longer?

LESTRADE  
You can come back in tomorrow. And we can probably have your clothing and linens back to you in…  
(to ANDERSON)  
Anderson, how long until Dr. Watson’s things will be returned?

ANDERSON  
(smirking at JOHN’s outfit)  
3 days.

LESTRADE  
3 days.

JOHN  
3 days! What am I supposed to wear for the next 3 days?

JOHN heads downstairs. 

CUT TO:

INT UPPER HALLWAY KITCHEN AND PARLOR ENTRANCE 

Molly is standing in the hallway outside of the parlor, with a used paper shopping bag. She is staring at SHERLOCK, who is in the parlor on his computer. SHERLOCK looks over and gives MOLLY a nod and quick smile. There is a flurry of activity in the apartment. MOLLY is pressed up against the wall just outside the open kitchen and open parlor doors. She sees JOHN come down the stairs.

MOLLY  
Oh John! How are you feeling?

She hands him the shopping bag.

 

JOHN  
What’s this?

MOLLY is looking into the parlor at SHERLOCK, who is sitting at the desk reading JOHN’s blog.

SHERLOCK  
(reading the blog)  
John, how do you manage to separate truth from fact on this blog?  
And what makes you think that I fancy…  
(notices the photo of himself on the blog)  
John, where did you get this photograph of me sleeping?  
Am I drooling?!  
(irritated, he looks over to JOHN)  
Aren’t you the funny one. You push forth embellishments, not the facts. It’s the facts that matter.  
(pushing the laptop aside)  
Only idiots read this blog.

JOHN  
(smirking)  
You read it. And so does your mum.  
The blog is not all about you. Get over yourself. 

SHERLOCK annoyed, stands and goes into the kitchen. He is obviously in the middle of an experiment or analysis and busies himself at the microscope.

MOLLY  
(following SHERLOCK’s movements and speaking to JOHN)  
Sherlock said you needed to borrow some trousers. These don’t fit me anymore. He say’s our inseams are the same. Maybe you can get some use out of them.

JOHN looks into the bag and pulls three pairs of MOLLY’s jeans from the bag. He looks to SHERLOCK for an explanation. SHERLOCK is not looking. JOHN holds them up to his body.

JOHN  
Hmm, these might work.  
(to SHERLOCK)  
Can I borrow a shirt?

JOHN notices one of the pairs of jeans has a pink heart embroidered on the back pocket. SHERLOCK sees it too and raises an eyebrow.

SHERLOCK  
Do you need pants and socks?

JOHN  
I’m not going to wear your used pants. But I will borrow some socks.

SHERLOCK  
(smiling softly)  
Molly, can you pick him up some pants at Debenhams? It’s just around the corner. I’ll never shop there again.

JOHN  
Your choice, or store policy?

SHERLOCK  
Not funny, John. That saleswoman should have been dismissed. Now go try on your pretty heart jeans.

CUT TO:

INT. LESTRADE’S OFFICE – DAY

SHERLOCK is standing by the window. JOHN is sitting at a desk looking at a computer screen. LESTRADE is sitting at his desk looking at a website.

JOHN  
They refer to them as “mice”? That’s ridiculous. Those bastards.  
What sick mind would conjure up something like this?

SHERLOCK  
So now we know they test the strength of the drugs on their “mice” in the underground tunnels. They monitor their subjects to get the mixes just right, without any side effects, before they offer them on the website. And if someone dies during the testing phase, no one is the wiser.  
Nameless, homeless, dispensable mice…

POV computer screen.

SHERLOCK stands behind JOHN, looking over his shoulder.

LESTRADE  
They sell legitimate creams and lotions on this site - very exclusive and pricey.

SHERLOCK  
Look here,  
(pointing at the screen)  
you have to have a special coupon code to enter this exclusive club on the site and order your own special blend. Aaah. They are clever. Private club status for that discerning drug user with deep pockets.

SHERLOCK types “7dS” in the special code box. A new web page opens.

LESTRADE  
You figured it out.

SHERLOCK  
Yes. Quite simple once I realized what they were selling.

JOHN  
7dS?

SHERLOCK  
Seven Deadly Sins. SALIGIA is a mnemonic based on the first letters in Latin of the seven deadly sins:

SHERLOCK points to the new screen. In bold text it reads “Seven Deadly Sins” JOHN looks at SHERLOCK questioning.

SHERLOCK  
(counting off on his fingers)  
Superbia, avaritia, luxuria, invidia, gula, ira and accidia.

John looks perplexed.

SHERLOCK  
(annoyed)  
Pride, Greed, Lust, Envy, Gluttony, Wrath and Sloth – Look!

POV WEB SITE: Ads on the website SEVEN DEADLY SINS!

You know you are good. Make your good better and your better best with THE Best ENHANCEMENTS available. Just a little dab’ll do ya!

Lacking confidence? “Silky Superbia” will get you back on track.

Is your boy being bullied? Our “Irrascible Ira” will help him set them straight!

Not sure if you are getting your fair share of the pot? A bit of “Acquisitiveness Avaritia” and you’ll be sure.

Craving a bit more knowledge, sex or power? Of course you are! “Lusty Luxuria” will insure it. (Our top seller!)

Is someone getting the best of you? Keeping you from getting it for yourself? Our “Evil Eye Invidia” will bring you there.

Need more? Go one step better than our Evil Eye Invidia. 

Try “Grab a Gula” for the maximum effect!

Need to slow down? Stop caring about the world around you for a while? Give in to “Activate Accidia”. You’ll want for nothing.

Call now…

SHERLOCK calls the number.

SHERLOCK  
Hmmm. “all operators are busy due to overwhelming volume of requests. Please try back later.”

JOHN  
They even have a disclaimer! No animals were harmed in testing these products - and they are not lying about that.

SHERLOCK  
I’m sure that Silky Superbia is the one that Geoffrey was given. They combined Nootropics with Datura wrightii.

JOHN  
What?

SHERLOCK  
Smart drugs and poisonous perennial plants.

JOHN  
Poisonous?

SHERLOCK  
Yes, but the combinations have to be just right. Or you could die. Imagine the cost of testing the creams the conventional way? They took care of that obstacle using the homeless addicts. What addict would turn down free drugs? (somberly)  
And who would question the unaccompanied death of a homeless person?

CUT TO:

INT 221B BAKER STREEET PARLOR – DAY

SHERLOCK is studying the images of WALTER and the gang that are tacked above the fireplace. JOHN is eating at the table in the parlor. SHERLOCK’s plate is barely touched.

JOHN  
So, Mrs. Hudson was naked?

SHERLOCK  
So were you, John. And Geoffrey’s body was found in the buff.

JOHN  
But why?

SHERLOCK  
You all three expressed high levels of intelligence - you even impressed me. And all three of you got a rash, and disrobed.

JOHN looks at his arms looking at where the rash was.

JOHN  
Why?

SHERLOCK  
Don’t know; perhaps you became hypersensitive and couldn’t tolerate the touch of clothing on your skin? Well, they couldn't sell their wares with those side effects. Certainly would challenge their marketing department.

JOHN  
Not a good selling point - "You'll be brilliant, but naked."

SHERLOCK  
I read the coroner's report. You and Geoffrey were exposed to different permutations of the same drugs. You were exposed to one of the more refined modifications of the cream; not such lethal side effects.  
Your results look like you got the “gift sampler”. You had traces of every one of those combinations in your system.

JOHN  
Then why didn’t I die?

SHERLOCK is looking out the window now.

SHERLOCK  
…because, you weren’t in the tunnels.

CUT TO:

INT ELDER HOLMES’ FLAT – KNIGHTSBRIDGE, LONDON - EVENING  
MICHAEL, MAGGIE, SHERLOCK, JOHN AND TILLY.

JOHN  
I haven’t had Scotch eggs in forever. Really lovely.

TILLY  
The best.

MAGGIE  
(looking to JOHN and stroking TILLY’s head)  
They are Matilda’s favorite.

JOHN  
And the meat pie. I’ve never had better.

SHERLOCK  
And you won’t; Edward makes the best.

JOHN  
So, Michael, how did you all fare when Sherlock was forced to fake his own death? You must have been devastated, not knowing.

SHERLOCK  
(warning)  
John.

JOHN  
No, really. I’d love to know. It must have been crushing for you both, thinking your son was dead.  
Ow!  
JOHN looks pained at SHERLOCK, who has just pinched him under the table. SHERLOCK stares at him.

MICHAEL  
(looking at SHERLOCK)  
Actually, John, it was not a shock for us. We knew about the plan and took precautions to lie low in New Zealand over the past few years. I’m sorry you couldn’t be told, but it was in your best interest.

TILLY  
What are you talking about? Sherlock, you faked your death? When?

MICHAEL  
Tilly, I apologize for not telling you, but it was a matter of national security.

TILLY  
(to Sherlock, with a bit of anger)  
When was this? You text me every week. Where were you? Why didn’t you tell me?

TILLY stares at SHERLOCK, who smiles and looks away, but says nothing. 

TILLY  
(annoyed)  
Póg mo thóin  
(subtitles: Kiss my arse)

JOHN  
(to SHERLOCK, referring to the Irish statement TILLY made)  
I bet that wasn’t complimentary.

MICHAEL  
John, I think you should know that, due to the “sensitive nature” of Mycroft’s work, we try to keep our identities from being linked to him and the family stays very low key. Now that Sherlock has become so well known, it is even more of an issue.

JOHN  
I understand.

MAGGIE  
Tilly, I’m sorry we couldn’t tell you.

SHERLOCK  
(to TILLY)  
See, you didn’t know and you didn’t miss me.

TILLY  
And you never came to visit me as promised.  
Tá tú bastaird láimhsithe.  
(subtitles: You manipulative bastard).

TILLY feigns anger. SHERLOCK stares at her. The women stand and clear the dishes.

JOHN  
(to SHERLOCK)  
I think she fancies you.

SHERLOCK  
(as he stands)  
No; she just likes to annoy me. Always has.

JOHN  
I find her rather refreshing.

SHERLOCK  
Try living with her.

JOHN laughs.

TILLY  
(as they head into the parlor)  
Sherly, have you found out anything more about the drug deaths in the tunnels?

SHERLOCK glances over to MAGGIE, hating to discuss his work around her.

 

SHERLOCK:  
We are getting closer to the answers.  
(changes the subject)  
So, Mummy, how’s the Queen?

MAGGIE  
Lovely. You know, you boys could learn a thing or two about respect from her lovely sons; this last time we were there for tea, they stopped by, and they bowed and kissed her hand and cheek.  
(gesturing)

SHERLOCK looks at her like she’s crazy.  
MAGGIE sits at the piano and plays a song. MICHAEL picks up a nearby violin and gives one to SHERLOCK. They join her in a song. TILLY and JOHN applaud.

JOHN  
Nice musical family.

MAGGIE  
Thank you John.

JOHN  
And what does Mycroft play?

SHERLOCK  
The fool.

JOHN, SHERLOCK and TILLY break out in giggles.

MAGGIE  
Sherlock.

SHERLOCK  
(stifling a laugh)  
Sorry Mum.

The three of them stifle their laughing again. MICHAEL stands and pours an after-dinner liqueur for everyone.

Just then MYCROFT stops in, dressed very casually. He is warm and charming to TILLY and his parents. He hands his mother a package as he gives her a kiss. SHERLOCK is checking his mobile.

MAGGIE  
Thank you Mycroft. I can always count on you for special cheeses. I’m sorry you missed tea. We were just sharing grappa. Michael would you please pour for Mycroft?

MICHAEL pours one for MYCROFT, raises a glass to MAGGIE and nods to SHERLOCK and MYCROFT.

MICHAEL  
I’d like to announce that I will be retiring at the end of this year and your mother and I will be moving back home by Christmas.

SHERLOCK gives an odd quick smile back, perhaps not as happy at this announcement. He and MYCROFT exchange worried looks.

JOHN  
(quietly)  
Ask your mother to play piano again. You play the violin and Mycroft can play the fool.

JOHN, TILLY and SHERLOCK break into giggles again. MYCROFT and SHERLOCK exchange snarky looks.

SHERLOCK receives a text and looks at JOHN.

SHERLOCK  
John, we’ve got to go.

He gets up, goes to his mother, bows and kisses her in a very mocking queenly fashion and does the same to TILLY. They laugh. He gives a nod to MICHAEL and MYCROFT.

SHERLOCK  
(to MAGGIE)  
Give Edward my best?

He grabs his coat.

SHERLOCK  
Tilly, I will see you soon.

JOHN  
(to MAGGIE and MICHAEL)  
Thank you very much.

JOHN hugs MAGGIE, shakes hands with MICHAEL; smiles and nods to TILLY. He gives MYCROFT an empty stare and turns away.

CUT TO:

EXT ELDER HOLMES’ FLAT – KNIGHTSBRIDGE

SHERLOCK and JOHN are waiting for a taxi.

JOHN  
Who was the text from?

SHERLOCK  
What text?

JOHN  
You said we had to go just now.

SHERLOCK  
Oh, nobody. I sent it to myself. I needed to escape.

A cab pulls up in front of them.

SHERLOCK  
And you need to pack.

SHERLOCK jumps into the cab. JOHN looks at SHERLOCK, confused.

CUT TO:

INT GATWICK AIRPORT – SECURITY OFFICE - EARLY MORNING

JOHN, holding SHERLOCK’s overcoat, is on the phone outside of the glass enclosed security cubicle. 

SHERLOCK is inside, with three security officers. He is handcuffed and arguing with a woman officer. One of the officers is putting on rubber gloves, and snaps it…

JOHN  
(into phone)  
Sorry about this, Mycroft.  
(pause, over the phone)  
Airport security. Gatwick.  
(pause)  
Of course not, why should the great Sherlock Holmes have to follow security regulations?!  
(pause)  
Well, we’ve missed our flight anyway now.  
(pause)  
You know how it’s going.

SHERLOCK is indignant, watching security officers go through his carry on luggage.

JOHN  
Yes, please.

He turns and looks to SHERLOCK, who is looking back at him furiously.

JOHN  
And if you could expedite this, that would be great. I think they are set to body search him. Can you get us the next available one out of here? Thanks.  
(pause)

JOHN  
(to a security officer)  
Excuse me, sir. Who is in command here?

SECURITY OFFICER  
(nods to the woman security officer with SHERLOCK)  
Angela Smith.

JOHN  
(into the phone)  
Angela Smith.  
(pause)  
Yes. Thank you.

JOHN hangs up. He looks over to the office. The blinds are closed now. He can hear the muffled yelling coming from the office. 

Minutes later, the office phone rings. 

The officer who answered the phone taps on the glass. One of the officers inside raises the blind. He nods to ANGELA SMITH and points to the phone. 

ANGELA SMITH comes out of the room and takes the phone. She is nodding and chatting and looks over to JOHN.  
The blind is still partially raised. SHERLOCK, his suit jacket off now, is no longer handcuffed and is still ranting.

ANGELA SMITH is listening for a minute or two on the phone.

ANGELA  
Yes, I see. Our apologies sir. Yes, of course. Immediately.

She hangs up, collects herself and looks over at JOHN.

 

ANGELA  
Dr. Watson?

JOHN nods and walks over to her.

ANGELA  
Our apologies, Dr. Watson. We were not made aware of Mr. Holmes status.

She makes a gesture to the officers in the room.

ANGELA  
(to JOHN)  
He is free to go.

CUT TO:

INT GATWICK AIRPORT TERMINAL

SHERLOCK walks out of the cubicle, fixing the cuffs on his jacket. He joins JOHN and they begin to walk in to the terminal.

JOHN  
Well, that was close.

SHERLOCK  
What?

JOHN  
Cavity search.

SHERLOCK  
Morons.

 

JOHN  
Sherlock, they were just doing their jobs. Why couldn’t you just remove your shoes.

SHERLOCK  
Apparently, I don’t have to.

He looks at JOHN. JOHN shakes his head in frustration.

JOHN  
Thanks to your brother.  
(pause)  
We’ve got to go pick up our new tickets. Do you think you can control you inner (insert reference to latest obnoxious celebrity) until we get on the plane?

SHERLOCK is putting on his overcoat. 

CUT TO:

INT PASSENGER JET

SHERLOCK, JOHN and passengers are boarding the plane, putting their carry-ons in the overhead compartment, referencing tickets to find seats.

JOHN  
Do you want the window seat or that seat?  
(He points)

SHERLOCK sits in the window seat.

JOHN  
Of course.

SHERLOCK immediately starts texting on his mobile. JOHN is still standing in the aisle.

JOHN  
You know, we’d be sitting in cushy seats right now if you’d just done what you were asked.

SHERLOCK ignores him. He looks at his message from MYCROFT.

POV SHERLOCK looking at mobile.

 

MYCROFT TEXT  
“Once you are on the plane, you are out of my jurisdiction. Behave. MH”

JOHN sits down in his seat across the aisle tucked between two very good-looking men.

A STEWARDESS approaches SHERLOCK.

STEWARDESS  
(to SHERLOCK)  
Excuse me, sir.  
SHERLOCK looks at her scornfully.  
Mobiles off during takeoff.

SHERLOCK curls his lip at her. JOHN notices this exchange. SHERLOCK opens his mouth to speak.

JOHN  
Sherlock! Mobile off.

SHERLOCK puts the mobile in his jacket pocket.

INT. 72 PASSENGER JET – IN FLIGHT

POV: JOHN nervously stretching his neck to watch SHERLOCK converse with his seatmate. John’s aisle seatmate is annoyed by his movements.

SHERLOCK  
(to WOMAN PASSENGER sitting next to him - with very affected sweetness)  
Those earrings.  
(WOMAN PASSENGER smiles at him)  
Exquisite. Larimar?

WOMAN PASSENGER  
(she touches the earring)  
Why yes, how did you know?

SHERLOCK looks insulted. She doesn’t notice.

WOMAN PASSENGER  
They are a gift from my fiancée.

SHERLOCK  
(still syrupy)  
He has excellent taste obviously. Not travelling with you?

WOMAN PASSENGER  
No, not today.

SHERLOCK  
Em, well, if you are travelling alone anyway, and it doesn’t matter where you sit, would you mind switching seats with my friend? I’d really appreciate it. He’s just across the aisle there?

SHERLOCK points to JOHN. WOMAN PASSENGER looks over to JOHN and considers the handsome men on either side of him.

WOMAN PASSENGER  
Sure, not a problem.

She stands and switches seats with john.

JOHN  
(to the WOMAN PASSENGER)  
Thank you. Thank you very much.

JOHN  
(to SHERLOCK)  
Well, that was smooth.

SHERLOCK smiles at JOHN. He pulls out the book Flowers For Algernon.

JOHN  
What’s this?

SHERLOCK  
It was in GEOFFREY’s box. Ever read it?

JOHN  
I did, but…I don’t remember. A mouse that got smart and then stupid again?

SHERLOCK  
Yes, a mouse, but also a man, Charlie, who was retarded and, through the same procedure, increased his IQ exponentially. His new super intelligence scared those who knew him. Charlie discovers that the effect is temporary and eventually, he will lose his gained awareness.  
Geoffrey felt the same. Although he was of superior intellect, that cream raised him to new heights of awareness. He writes about it in the journal. The cream allowed him brief periods of intense hyper-intelligence where he wrote some amazing passages. But, these powers came with severe side effects.  
You had the same effects, John. Hyper-euphoria, intense awareness, random rashes, high fevers, and eventually - death.

JOHN  
Did you arrange for us to acquire some protection?

SHERLOCK looks at him questioning.

JOHN  
Guns.

SHERLOCK  
Yes. When we get to the hotel. No worries.

JOHN  
Every time you say “no worries”, I worry - a lot.

CUT TO:

IN SPAIN: AT THE ALMERIA AIRPORT

JOHN is at the car rental counter. SHERLOCK is sitting with the carry-ons concentrating on his mobile.

JOHN(in Spanish)  
Pero tengo una reserva.  
(subtitles: But I have a reservation

AGENT(in Spanish)  
Lo siento, señor, no hay nada que podamos  
hacer. Estábamos inundados con el alquiler debido a la huelga de taxis. Nadie ha vuelto a los prestamistas. No tenemos los coches.  
(subtitles: I’m sorry sir, there’s nothing we can  
do. We were inundated with rentals because of the taxi strike. No one has returned the loaners. We have no cars.)

 

JOHN(in Spanish)  
¿Cómo se supone que vamos a llegar a nuestro hotel?  
(subtitles: How are we supposed to get to our hotel?)

AGENT(in Spanish)  
Sir, puedo tener su equipaje entregado a su hotel para usted. Podemos comunicarnos con usted tan pronto como un coche está disponible. Tal vez mañana.  
(subtitles: Sir, I can have your luggage delivered to your hotel for you. We can contact you as soon as a car is available. Maybe tomorrow.”

JOHN(in Spanish)  
(frustrated)  
No tenemos ningún equipaje. ¿Podemos enganchar un paseo hasta el hotel con el equipaje?  
(subtitles: We have no luggage. Can we hitch a ride to the hotel with the luggage?

AGENT (in Spanish)  
No, me temo que no podemos llevar a los pasajeros. Estamos haciendo todo lo posible para conseguir el equipaje entregado. Usted puede tomar un autobús. Justo fuera de la paradas de taxis.  
(subtitles: No, I’m afraid we can’t carry passengers. We are trying our best to get the luggage delivered. You can take a bus. Right outside at the taxi stands.  
(he points)

JOHN (in Spanish)  
¿Qué pasa con un servicio de transporte hotel?  
(subtitles: What about a hotel shuttle?)

AGENT (in Spanish)  
Lo siento, señor, no hay servicio de transporte se están ejecutando. Ellos están en huelga en apoyo de los taxistas.  
(subtitles: Sorry sir, no shuttles are running. They are striking in support of the taxi drivers.)

JOHN looks over to SHERLOCK, who is looking annoyed from the wait. He gestures a “What’s up?” to JOHN. JOHN shrugs.

JUMP CUT TO:

SHERLOCK and JOHN exit airport.

JUMP CUT TO:

EXT AIRPORT

Dozens of agitated people in queue waiting for the bus.

JUMP CUT TO:

SHERLOCK and JOHN look around for another option.

JUMP CUT TO:

Sign for BIKE RENTAL stand with one lonely attendant.

JUMP CUT TO:

ROAD IN SPAIN

SHERLOCK and JOHN are riding rental bikes on a deserted road in Spain. 

JOHN is wearing a helmet and has a second helmet draped on his handle bars. 

SHERLOCK is not wearing a helmet. SHERLOCK is struggling to ride the bike. John has on his carryon, which is a backpack. Sherlock has a soft suitcase strapped across the back basket.

JOHN  
You've never ridden a bicycle? How could you have missed such a childhood experience?

SHERLOCK is quite wobbly and his coat keeps getting in the way. They go about a quarter of a mile and SHERLOCK stops. JOHN stops.

JOHN  
What?

SHERLOCK  
How far is the hotel?

SHERLOCK gets off this bike and is standing looking over the small town of Almeria, where they are headed. JOHN pulls out a map.

JOHN  
Three, maybe four miles… maybe less. It’s hard to tell. It looks like downhill most of the way.

JOHN and SHERLOCK continue on to the town. They notice a small black car following them slowly. They pull over to the side and the car shoots past them. They can’t see the driver.

CUT TO:

INT SMALL RESTAURANT IN SPAIN

 

SHERLOCK  
Gus and his top people communicate in the Old Irish.

JOHN  
Nobody speaks Irish anymore, except maybe the priests and nearly-deads. It’s a lot like Latin.

SHERLOCK  
Precisely. They teach it in school in Ireland still, but few really learn it and only select villages still use it. The Haggerty Gang relies on it heavily. Gus is clever. In London, it is a secret language only he and his top cronies can understand. Privacy in public.

JOHN  
How so?

SHERLOCK  
Did you ever talk to your friends in pig Latin when you were a boy? It’s just the same. Hide what you’re saying to your parents or others around you.  
VISUAL OF SHERLOCK SHOWING JOHN IN A BOOK  
Irish is easy once you get the flow of the language.  
BH sounds like V. Monosyllables ending in lb, lbh, lg, lm, nm, rg, rb, rbh, rm, are sounded as two syllables, like you’ve stuck a “u” in between; thus, fearg (fearug), dealbh (dealuv), marbh (maruv). Mh at the start of a word is pronounced as a w; in the centre of a word is pronounced as a v.

JOHN  
You think this is easy?

He hands him a Celtic/English dictionary.

JOHN  
This is painful. I’m not going to learn this.

SHERLOCK  
Pay attention. John, we’ve got to get to them. Now try this. Tá tú ar leathcheann.

JOHN  
And what is that?

SHERLOCK  
Tá tú means “you are”

POV: JOHN opens the book. He opens to leathcheann and sees that it means idiot.

JOHN  
Otnay unnyfay, Erlockshay.

CUT TO:

SPAIN – BIKING AROUND TOWN

SHERLOCK AND JOHN bike into a small desert town near Almeria. They notice there are “WANTED” posters up on telephone poles along the road. They have JOHN and SHERLOCK’s face on them. Written in Spanish and English.

CUT TO:

SHERLOCK and JOHN are in disguise as utility workers. They are reading one of the posters.

CUT TO:

CLOSE UP OF THE POSTER has a picture of SHERLOCK and JOHN.(WRITTEN ON POSTER)  
BEWARE  
Thieves, Murderers, Drug dealers  
Armed and dangerous  
Do not approach them on your own  
Call this number immediately: 98(7) 65(4) 3210

SHERLOCK  
No surprises here. It looks like they are expecting us. How did they know?  
That’s a very flattering picture of me John.

JOHN  
Sherlock, this is ridiculous.

SHERLOCK  
Clever.

SHERLOCK is on JOHN’s mobile.

JOHN  
Who are you calling?

SHERLOCK  
We’ll find out.

JOHN  
You’re not dialing that number are you? They’ll see it’s you.

SHERLOCK  
This is your phone John.

JOHN  
Dammit Sherlock.

JOHN grabs for the phone.

SHERLOCK  
(sweet tone)  
Hello. Who’s this?

SHERLOCK  
(Listens for a bit)  
Yes.  
(darkly)  
Come find me.

SHERLOCK  
John, there’s that car again.

SHERLOCK nods in the direction of the car and it drives away. 

CUT TO:

EXT OF THE ABANDONED LAB IN SPAIN

POV: from street. Utility truck parked next to building. Ladder set up against the building next to a window.  
Zoom in on scene:  
SHERLOCK and JOHN dressed in hard hats, blue workshirts with nametags sewn in (LUIGI and HECTOR). Bright yellow safety vests. Leather tool bags with tools and guns around their hips.

CUT TO:

INT OLD LAB

They enter the lab through a window. Guns drawn, they look around the few rooms.  
They gather evidence. SHERLOCK finds a hidden cache and takes a folder. It is a list of inventory with numbers and status of “mice”.

SHERLOCK  
There are hundreds of records here. Dating back at least five years. How many others have died?

SHERLOCK is looking through the records they found at the old lab. He reads through the notes and finds the number correlating to the small glass jar from GEOFFREY’s box. He reads the details of the study.  
Subject 05221859: Silky Superbia Male. NOTE: Troublemaker; purged from program. SHERLOCK reacts to this notation in anger.  
SHERLOCK sees something familiar on the shelf. It is the blue binder with the chemical symbols on the cover; the one that is missing from his flat. He looks very confused.

SHERLOCK  
(to himself)  
That was years ago. They knew about my binder. Moriarty must have seen it in the apartment that day. How would he know what was in this?  
(to JOHN)  
Let’s go.

JOHN  
Are we taking all these records?

SHERLOCK  
No. These will do.

JOHN  
Isn’t that your blue binder, the one your cousin stole.

SHERLOCK  
John, that wasn’t my cousin; he was one of Moriarty’s men.

SHERLOCK bundles a group of records and stuffs them into his satchel with the binder. JOHN starts to climb out the window. SHERLOCK looks over to a desk. He sees a thumb drive and takes it with him.

SHERLOCK  
John, this way.

SHERLOCK opens the front door. He collects up the things he’s taking with them. He holds open the door. JOHN steps out with the things he’s collected. SHERLOCK follows. As he steps out, he triggers a tripwire set low in the doorway. As he steps out an explosion rips through the lab. They are both blown to the ground.

SHERLOCK  
Run!

CUT TO:

EXT OLD LAB

They run to the truck. SHERLOCK takes the ladder and they put in on the truck and drive off.

JOHN  
Do you suppose anyone saw us?

Sirens in background.

CUT TO:

STREET IN FRONT OF OLD LAB

The black car is parked nearby. We see someone in the car. We see a gloved hand put a camera down and the car drives away. The lab is burning in the background.

CUT TO:  
PLANE FLYING HOME TO LONDON.

CUT TO:

LOCAL BAR/DANCEHALL

JOHN is out with his friend MIKE Stamford and two women SAMANTHA AND PENNY. Drinking and dancing. JOHN gets a text.

SHERLOCK TEXT  
Important. Come now. SH

JOHN TEXT  
I’m busy. It can wait until later.

SHERLOCK TEXT  
Come now. Urgent. SH

JOHN TEXT  
I’m out with friends. I’ve been working with you all day. You are not going to ruin this date for me.

SHERLOCK TEXT  
Date?

JOHN TEXT  
Yes. Need I explain?

SHERLOCK TEXT  
Fine. SH

JOHN TEXT  
Can’t it wait?

No response.  
JOHN feels a bit guilty.

MIKE  
What’s wrong?

JOHN  
Sherlock. He’s texting me to come home. He never explains what he wants. Just cryptic messages.

MIKE  
Ignore him. He’s just lonely.

JOHN  
He did say “urgent”, but he thinks everything he does deserves the same level of urgency.

MIKE  
Let it go. You rarely date. Stay and have fun.

They continue dancing. JOHN forgets about the problem.

JOHN is dancing with SAMANTHA. He looks up to see SHERLOCK sitting at a table nearby.  
SHERLOCK raises his glass to JOHN, who continues dancing.

When the song ends, the musicians take a break. The women head to the lady’s room. JOHN walks over to the table. MIKE follows JOHN.

SHERLOCK  
Having fun I see. You and Mike double date a lot?

JOHN  
What are you doing here?  
(suddenly realizing)  
How the hell did you know I was here? I didn’t tell you where I was going. Mike, did you tell him?

MIKE shakes his head no; he didn’t tell him.

SHERLOCK  
I came to see how you have fun on your dates.  
(He smiles smugly)  
Hello Mike.  
(in a funny accent)  
You boys gettin’ your groove on?  
John, the flat reeks of tawdry cologne. And you brushed your teeth twice today already. Obviously, you planned to be close to someone special.

JOHN  
(flustered)  
You couldn’t have known I’d be here.

SHERLOCK  
Where else would you take a first date, unsure if you’ll get lucky? Someplace close by with cheap drinks and free dancing.

JOHN  
That’s low.

SHERLOCK  
And - you wrote the address on the pad on the kitchen table.

JOHN  
So, what is so urgent that you’d come here to get me?

SHERLOCK  
Nothing, John. No urgency at all. Unless you consider finding Walter Patton an urgent matter. No need to rush off the dance floor. Go on, have another pint…and who is the lucky lady this evening?

JOHN  
(hesitating)  
Samantha.

SHERLOCK  
Sammmmantha. Lovely name. Teacher?

JOHN  
Nurse.

SHERLOCK  
Oooh. Two doctors out on the town, with nurses. That’s easy pickings for you.

JOHN  
Sherlock, behave.

The women come to the table.

SHERLOCK  
(speaking to the shorter, prettier woman)  
So this must be Sarah.

JOHN  
Samantha.

SHERLOCK  
Oh yes, Samantha.  
(aside to JOHN)  
Can’t you just number them so I can keep track?

MIKE:  
This is Penny. Penny, this is our friend Sherlock Holmes.

PENNY  
(unimpressed)  
Yes, I know. I see him at work. Hello  
Sherlock.

SHERLOCK returns a bored smile.

SHERLOCK  
Well, I best be off. Got a case to solve. Bye.

He stands and walks away briskly. JOHN follows him.

 

JOHN  
Sherlock, can’t this wait until morning?

The band comes back and begins to tune.

SHERLOCK  
Of course; I wouldn’t want to interrupt the mounting love fest.  
(He gestures to the group)

JOHN  
So it can wait?

JOHN looks back to the table. The women are dancing with MIKE near the table. SAMANTHA is gesturing to JOHN to come back.

SHERLOCK  
You do whatever it is you need to do with Sarah; I’ve got work to do.

JOHN  
Samantha.  
(He corrects him again)  
Dammit, Sherlock, what is going on that is so important it can’t wait a few hours.

SHERLOCK  
Well, John. No worries. Two more bodies showed up at Bart’s today. Drug overdose. Homeless men. Molly can’t determine what the drug is. Sound familiar?  
(He leans in, to JOHN)  
He’s back and he’s killing them in the tunnels again. But what’s a few more dead when love is in the air…

JOHN rolls his eyes and heads back to SAMANTHA. SHERLOCK watches as JOHN explains he must leave.

JOHN  
Sorry Mike, something’s come up. I’ve got to go. Samantha, I’m sorry. I have to go look into something at the morgue. Can I make it up to you?

 

SAMANTHA  
I understand. I’ve experienced Sherlock firsthand at work. He can be obnoxious, can’t he?

She smiles at JOHN.  
No worries.

MIKE  
We’ll see Samantha home.

JOHN gives SAMANTHA a peck on the cheek. Agitated, walks right past SHERLOCK and out the door. SHERLOCK follows; a slight grin on his face. 

CUT TO:

INT CAB – NIGHT

JOHN  
Sherlock, why use the homeless in London for their testing? Why not Dublin or Galway? They’re from Ireland for cripes sake. They’ve got scores of homeless addicts as well.

SHERLOCK  
Too obvious, John. No tunnel system to hide their “mistakes” “test failures” if one of the “mice” die. Who takes notice if someone dies of a drug overdose in the tunnels? It would be a bit obvious if they were dying in the streets of Dublin in these numbers.

JOHN  
And why have their lab in Spain? Why not closer to their “mice”?

SHERLOCK  
Their “legitimate” company is based in Spain.

JOHN  
Legitimate company? They are legal?

 

CUT TO:

INT 221B BAKER STREET – THE NEXT DAY.

SHERLOCK and JOHN come into the apartment.  
SHERLOCK is immediately aware that someone is in the apartment. It’s hard to tell, but the parlor is in disarray. 

SHERLOCK signals to JOHN to be quiet. JOHN has his gun out. SHERLOCK sees a shadow in his bedroom. They are slowly passing through the kitchen when a person throws a box out the window in SHERLOCK’s room and jumps through it too.  
SHERLOCK runs in.  
JOHN runs downstairs.  
There is a rope hooked to the window.  
SHERLOCK looks out the window,

SHERLOCK  
Hey!

SHERLOCK grabs onto the rope and swings it trying to knock the burglar off.

 

CUT TO:

THE ALLEY BELOW SHERLOCK’S ROOM

JOHN rounds the corner to the alley.  
MRS. HUDSON is standing there holding the burglar at gunpoint. She is holding a tea towel and wooden spoon in the other.  
She smiles to JOHN. 

MRS. HUDSON  
John, could you please take care of this? My stew needs stirring.

She hands the gun to JOHN and turns to leave. SHERLOCK comes around the corner and picks up GEOFFREY’s journals, which have spilled out of the box. He puts them back in the box. 

SHERLOCK texts MYCROFT. “Your burglar bungled.”  
MYCROFT receives text and raises his eyebrows.

CUT TO:

SPAIN – OUTSIDE THE NEW LAB

Helicopter landing in a parking lot. GUS and two other men step out and head into a building carrying cases. It is the new lab in Spain. The building is square with large windows. The building is surrounded by hedges and plants. There is a wide set of stairs leading up to the front door. Several lower level doors on both sides of the building leading into the lower level.

CUT TO:

EXT 221B ENTRANCE  
JOHN comes home. A repairman is fixing the doorbell. JOHN smiles and walks in.

CUT TO:  
INT 221B

JOHN comes up the stairs. The doorbell is ringing over and over. There is a second repairman fixing the upstairs bell. 

JOHN  
Oh god, what is that smell?

JOHN has his face buried in his jacket sleeve. He has several newspapers and magazines tucked under his arm. SHERLOCK is setting up a fan on the kitchen table. He is wearing his goggles pushed up on top of his head and has one of his safety gloves on. The other is draped in the sink. There is a cloud-like formation floating above the table. A stack of smoldering notepaper is in the sink. The window is open.

SHERLOCK  
It’ll clear in a minute.

JOHN takes off his jacket and heads into the parlor, waving his arms around to circulate the air. He pulls one of the newspapers and shows it to SHERLOCK.

JOHN  
See this? An article on Gus Haggerty. Wait, this isn’t the Gus Haggerty you’re chasing. This guy is much older. He’s serving a life sentence.

JOHN stands and walks over to the photos posted on the wall. 

UPSTAIRS REPAIRMAN  
Shouting down to the other repairman  
Try it now!

The bell rings over and over. JOHN looks up at the repairman.

JOHN  
Will this take long?

UPSTAIRS REPAIRMAN  
Dunno. It’s pretty messed up.

He hands JOHN something. JOHN holds it up. It is a bullet.

UPSTAIRS REPAIRMAN  
Somebody shot this thing.

JOHN  
It’s not the first time.

SHERLOCK  
(looking at the article)  
No, it’s not the same man. But there is a similarity. He is in Woodhill prison. They say he rules the gang from his cell and they can’t seem to stop him. Maybe his father? They share a name.

JOHN  
(sniffing the air and looking back into the kitchen)  
Sherlock, those papers are still on fire.

SHERLOCK dashes back into the kitchen and turns on the faucet over the burning pages.

JOHN  
(hovering over the article now too)  
No. Maybe his uncle?

SHERLOCK  
Yes, his uncle. Big Gus killed his brother Dermot – young Gus’ father - in an argument over who would pick up a pub tab. He’s a bit high strung, isn’t he? He shot everyone at the table, including little Gus.

JOHN  
Brotherly love.

UPSTAIRS REPAIRMAN  
Shouting down to his partner.  
Try it now!

The bell rings over and over. The UPSTAIRS REPAIRMAN puts the cover on the bell and comes down the ladder.

UPSTAIRS REPAIRMAN  
Well, that should do it.

JOHN looks over to the UPSTAIRS REPAIRMAN, who is writing on a piece of paper.

UPSTAIRS REPAIRMAN  
Here ya go.

The UPSTAIRS REPAIRMAN hands JOHN the paper. JOHN looks shocked at the paper. 

JOHN  
All this to fix a doorbell?

JOHN waves the bill in SHERLOCK’s face. SHERLOCK ignores it. The UPSTAIRS REPAIRMAN shrugs and heads down the stairs.

SHERLOCK  
John, have you unpacked yet? I hope not; we are going back.

JOHN  
To Spain? Why?

SHERLOCK  
We’ve got to plan a family reunion.

JOHN  
He won’t be there now; we’ve scared him off.

SHERLOCK  
I don’t think so.  
We’ve got to find that new lab.

CUT TO:

VISUAL – PLANE TAKING OFF FROM GATWICK AIRPORT

CUT TO:

IN SPAIN WALKING ALONG A STREET

SHERLOCK and JOHN are dressed normally. They are walking along a street, looking at buildings.

JOHN  
Sherlock, the black car. That’s the same car that was following us last time.

SHERLOCK and JOHN slip down an alley. The black car turns before the alley. They can’t see inside.

SHERLOCK  
This way.

They run across the street and over another alley to the next street. The black car is idling at the curb. John has his gun out.

JOHN  
I can’t see inside the car. The windows are tinted.

The car starts up the street and turns into a driveway. SHERLOCK and JOHN creep across the street and approach unseen, hiding behind a low wall.

JOHN  
We can’t just walk up and knock.

SHERLOCK approaches the car slowly and slashes the back left tire. He quickly retreats back to JOHN.  
The tire gives a whoosh sound and deflates.

SHERLOCK  
Get ready John. I’ll take the left, you take the right.

They are crouched down, guns drawn, waiting. And waiting.

SHERLOCK  
(quietly to the car)  
Oh, for gods sake. Do something!

The door opens. POV woman’s boot stepping out of the car. TILLY stands and looks at the tire and looks around.

SHERLOCK  
Tilly!

TILLY jumps.

SHERLOCK  
What are you doing here?

TILLY  
Sherlock, what the hell did you do to the car? You are going to pay for this!

SHERLOCK  
What are you doing following us around? I could have shot you.

TILLY  
You wouldn’t.

SHERLOCK  
I should have.

JOHN  
Can we please get out of sight? Those posters are everywhere. How did you get a car?

TILLY  
(as they are getting into the car.)  
It belongs to a friend who isn’t going to be pleased that you blew his tire.

CUT TO:

EXT NEARBY TIRE SHOP  
MAN is changing the tire.

SHERLOCK  
They know we are here.  
(looking at TILLY)  
But they don’t know about you. And you speak Irish.

TILLY  
I don’t speak it THAT well anymore.

SHERLOCK  
Yes you do. You pepper nearly every conversation with it.

TILLY  
Swears and curses. I know enough to annoy you and to get by. I haven’t been fluent since my parents died.

SHERLOCK  
Good enough. You won’t need to speak it, just understand what they are saying. They’ll not suspect you. An American in Spain. Play deaf.

TILLY  
I do know sign language.

SHERLOCK  
Besides, we’ll be taping you. You can translate later if they start speaking Irish.

TILLY  
Fine. Let’s take these bastards down.

JOHN  
How many languages do you speak?

TILLY  
Well, not nearly as many as Geoffrey – at last count he spoke fourteen.

CUT TO:

INT NEW LAB IN SPAIN - WALTER AND GUS 

WALTER has a clipboard in his hand. He is in a back room of the lab. There is a MAN who appears to be asleep on a cot on one side of the room.  
The MAN is a brilliant CHEMIST who the gang kidnapped to do their work.  
GUS enters the room. He looks around casually. He is stroking a rabbit foot dangling from his pocket. He walks over to the man on the cot.

WALTER  
(surprised)  
Gus, I wasn’t expecting you.

GUS  
How long do we keep him drugged?

WALTER  
When he’s not working. He’s a whiner. It was drugs or I’d ‘ve killed him by now.  
What are you doing here, Gus?

GUS  
I came to ask you the same question. What are you doing here, Walter?  
I told you to take care of Sherlock Holmes and that Muppet fella, not traipse across the continent, taking inventory.  
GUS taps the clipboard  
The boys say you left in a hurry yesterday.

Pause. WALTER looks nervous.

GUS  
I asked, “What are your doing here”?

WALTER  
(nervously)  
Gus, your uncle put me in charge of the SALIGIA group.

GUS  
Did he now?

WALTER  
Ya. You didn’t know? Sorry, Gus. I got a message from his people to come down here immediately and take over on accounta’ us taking care of those Sullivan boys. There was no one in charge.

WALTER studies GUS, trying to figure out his mood.

WALTER  
I thought you knew.

GUS  
Well, ain’t that sweet. Dear uncle sending my best man to take over my operation.

GUS pats WALTER on the shoulder.

WALTER  
Gus, I wouldn’t say I was takin’ it over. I was just following orders.

GUS  
Whose orders? Who do you work for? My uncle is a generous soul now, isn’t he? Giving you what’s mine. Aren’t you the servant of two masters. I’m going to have to write him up a nice big thank you note.

WALTER  
What?

GUS  
But I’m afraid I’m going to have to tell him you aren’t qualified for the job.

WALTER  
Not qualified? I’ve never let you down. I didn’t know he didn’t tell you, I swear. You know me Gus; you know I’m up to the job.

GUS  
You aren’t.

GUS looks WALTER in the eye.

GUS  
You’re not on accounta you’re dead.

BANG! He’s dead.

CUT TO:

JUST OUTSIDE TILLY’s CAR

SHERLOCK and JOHN wire TILLY. The “wire” is actually a set of microphones that TILLY puts in her ears. They resemble hearing aids. 

 

JOHN  
I’m sure they will be here this afternoon. The waitress says they come every day.

SHERLOCK  
You need to sit as close as possible to them. Once they see you use sign language and notice the hearing aids, they’ll ignore you.

JOHN  
We’ll be right outside in the car.  
Tugging SHERLOCK’s sleeve.  
Let’s go before someone recognizes us.

CUT TO:

IN SPAIN – SMALL RESTAURANT – LATER SAME DAY

GUS and some gang members are in the pub. No other customers. TILLY walks in and sits nearby. The men watch her. She smiles at them and looks at the menu. The waitress walks over. TILLY uses sign language. 

WAITRESS  
(speaks English with Spanish accent)  
Sorry miss, I have no idea what that means. Here, write it.

The WAITRESS puts the pad on the table. TILLY writes her order.

GUS  
(to the WAITRESS)  
Is she deaf?

The waitress shrugs.

WAITRESS  
Miss, can you hear me?

TILLY doesn’t respond. She is looking at her mobile and pretending not to hear.

WAITRESS  
(to GUS)  
Deaf.

 

GUS  
(to one of the men)  
You can’t keep him drugged all the time. How long does it take to clear his head to do his work?

MAN #1  
We don’t always drug him. If we need him, we cuff him overnight so he’s functioning by morning.

GUS  
Good. I don’t want to be wasting valuable time. We’ve got to step up production; the cops in London are onto us.

 

MAN #2  
Somebody’s watching the building. A small black car. We’re on the lookout for it.

GUS  
What about the car?

MAN #2  
Don’t know. Couldn’t see the plates and the windows are tinted.

GUS  
(angry)  
Find it.

CUT TO:

INT TILLY’S CAR

SHERLOCK’s mobile rings.

Text from TILLY  
Get out of here. They know the car. Move it. T.

SHERLOCK starts the car.

CUT TO:

EXT THE NEW LAB 

POV utility truck. Ladder up against a utility pole outside a window to the new lab. SHERLOCK, dressed as a utility worker, is on the ladder looking into the lab.  
JOHN, dressed as a utility worker, is checking out the building, looking for a way in. There are hedges below most windows. He sees a door and jiggles the handle. He starts to pick the lock. Another door further down the wall opens. JOHN turns to the door with his gun drawn. A YOUNG MAN beckons JOHN in. JOHN approaches.

YOUNG MAN  
Are you Sherlock Holmes?

JOHN  
Who are you?

 

YOUNG MAN  
Can you help us? My uncle is captive and I’ve got to rescue him.

JOHN slips in the door with him.

CUT TO:

INT DOORWAY INSIDE NEW LAB

YOUNG MAN  
(whispers)  
My uncle is their chemist. He’s imprisoned here, forced to work.

JOHN  
(whispers)  
Imprisoned?

YOUNG MAN  
(whispers)  
He was hired to create their products, but when he realized what they were doing, he quit. Instead, they kidnapped him and keep him drugged when they don’t need him. Can you help me?

JOHN  
Yah. Just let me call Sherlock.

JOHN pulls out his mobile. Before he can make the call, a door opens and two armed men are pointing their guns at them.

CUT TO:

EXT NEW LAB

SHERLOCK is on the utility pole trying to assess the situation inside the lab. He sees GUS and several other men talking. GUS is gesturing to two of the men, who pull out their guns and leave. They reenter the room and SHERLOCK sees that they have JOHN and a YOUNG MAN with them. 

CUT TO:

INT NEW LAB

GUS  
Well, well, well. Who have we here? You’re Sherlock Holmes’ little elf, aren’t ye? Yea, we’ve been planning a little accident for you. How convenient you showed up.  
(to the YOUNG MAN)  
And you. Who the hell are you?

MAN #1  
He works here Gus.

GUS  
A traitor, eh? This is getting ridiculous. Get rid of both of them.

There is loud music playing in the lab. GUS notices a bird flying around the lab. He cowers. Before anyone can move, SHERLOCK comes crashing through the window swinging on a loose cable wire. He rolls on the floor, leaps up and hits the man holding JOHN with the side of a broom-like stick, knocking him out.  
SHERLOCK starts punching people and using the stick to fight them off.  
JOHN and the YOUNG MAN join in.  
SHERLOCK loses grip of the stick and it flies off to the side.  
SHERLOCK and GUS start punching each other.  
JOHN is fighting some others. SHERLOCK gets GUS in a headlock.  
The YOUNG MAN runs to the room with the CHEMIST.  
A door opens and others come in with weapons.  
JOHN and SHERLOCK are forced to give up.  
MAN #2 brings the YOUNG MAN back into the main lab.

GUS  
(angry)  
So, Mr. Sherlock Holmes, I see you are quite the boxer.

GUS smiles a cynical smile.

CUT TO:

INT LAB – ROPED OFF AREA. 

GUS is holding an ice bag on his face.

GUS  
I’m glad to see the gloves fit you.  
(gesturing to the roped off area)  
So, what do you think?. Boxing relaxes me. These boys aren’t much of a challenge. You’re just what I need today.

GUS comes over to check on SHERLOCK’s gloves. They stare at each other.

GUS  
Hmm. You’re a skinny bastard. I do like a balanced fight and you don’t look like much of a challenge.

SHERLOCK looks at GUS with disapproval. SHERLOCK looks over to JOHN who is smiling at him, giving him a “thumbs up”. SHERLOCK smiles back just as GUS takes a first swing at him, landing a solid one to the side of SHERLOCK’s head. They test each other. GUS realizes that SHERLOCK is a good boxer and ups the attack. They taunt as they fight. They are both fairly bloodied.

GUS  
(gesturing to JOHN)  
So, who’s your munchkin sidekick? Is he a cop?

SHERLOCK  
John is my colleague.

GUS  
Is that a fancy name for a boyfriend?

SHERLOCK  
And your colleague Walter? Off killing innocents?

GUS  
He’s dead.

SHERLOCK  
Got in your way, Gus?

GUS  
What do you know about it? He tried to take over my operations. He deserved to die.

SHERLOCK  
You killed him?

GUS  
I loved him like a brother.

SHERLOCK  
Like your uncle loved his brother – your father?

GUS  
You don’t screw your best friend. My uncle was letting him take over my business.

SHERLOCK  
You killed your best friend because your uncle angered you? A bit extreme, don’t you think?

GUS  
Maybe. It didn’t feel as rewarding as killing your friend, Sherlock Holmes. Was he a colleague too? He thought he could ruin my plans. I showed him.  
SHERLOCK is furious and knocks out GUS. He leans down on him as he pulls off his glove and grabs something from around GUS’ neck and slips it into his pocket.

As he does we hear the click of several guns at this head.

CUT TO:

INT NEW LAB - BACK ROOM WITH CHEMIST 

JOHN and SHERLOCK are sitting back to back on the floor, zip ties bind their hands at their sides – SHERLOCK’s left hand to JOHN’s right hand, and the same on the other side. The YOUNG MAN is cuffed alone. The CHEMIST is unconscious on the floor. WALTER’s body is lying on the floor covered in a blanket.

JOHN  
Well, this is quite a predicament, isn’t it?

SHERLOCK  
Well, I’m sure he won’t take it well when he regains consciousness – getting beaten in front of his subordinates.  
I don’t think mercy is in the cards for us. We’ve got to get out of here.

JOHN  
It’ll take a miracle. Look at us. Zip ties? Does Mycroft know we are here?

SHERLOCK  
A lot of good that will do us. Where is Tilly? Now would be a nice time for her to show up.  
Let me think.  
(long pause as SHERLOCK looks around)  
John, remember when I was teaching you to dance for your wedding?

JOHN  
You didn't teach me. You showed me a couple of steps.

SHERLOCK  
When I was teaching you, remember when we made up those moves, the ones that upset Mrs. Hudson?

JOHN  
Ohh. Yes. No, wait…You’re not considering…(JOHN looks to the window) That’s a good twelve feet to the ground. We’ll snap our arms off!

SHERLOCK  
Trust me, John.

JOHN  
I’m not sure abou…

SHERLOCK  
Shut up and move.

JOHN and SHERLOCK struggle to stand. SHERLOCK moves a chair with his legs over to the door and wedges it under the handle to keep the men out. JOHN faces the window. They roll over each other’s backs until they are close to the closed window. SHERLOCK springs off JOHN’s back and breaks the window with his feet. JOHN rolls and tumbles out behind him. 

JUMP CUT TO:

EXT NEW LAB

They fall to the ground, the hedges soften the landing. Their arms are definitely in pain. SHERLOCK looks around the yard. He sees lawn equipment dumped near the edge of the building. He sees a long-handled hedge cutter. They struggle to lift it. SHERLOCK puts the blade against the ties. JOHN tries to squeeze the clippers together. They try again. JOHN tries to sit on the handle to squeeze it.  
It works. They are free.  
TILLY appears at the corner of the building. Her hair is disheveled and there is blood running down her face from her hairline. Her lip is also bleeding.

 

TILLY  
(nervously)  
Hello, boys.

SHERLOCK  
You took your time. Where is the car?

TILLY  
Umm.

SHERLOCK looks and realizes that someone has a gun to TILLY’s head. They step forward into the light together.

MAN  
Where do you think you’re goin’?  
Hands up, gentlemen.

JOHN puts his hands in the air – visibly in pain from the tumble. SHERLOCK runs toward TILLY. He is angry. The MAN shoots at SHERLOCK. SHERLOCK rolls on the ground still moving toward them. TILLY grabs the gun and struggles with the MAN. SHERLOCK takes the gun and punches the man out.

TILLY  
(to the unconscious man as she fixes her hair)  
Don’t you EVER touch my hair again!

SHERLOCK  
Holding TILLY’s face and assessing her injuries.  
Where’s the car?

TILLY  
I don’t have the car. They know the car. You said we can’t risk us being discovered. Do you want me to go and get it?

SHERLOCK turns and runs back. He scales the wall and jumps back through the window to rescue the chemist.

JOHN  
Sherlock!

SHERLOCK appears at the window with the YOUNG MAN. They are carrying the CHEMIST. Light smoke is drifting out the window.

SHERLOCK  
Catch.

SHERLOCK eases the CHEMIST down the wall and lets him slide into JOHN’s arms. The CHEMIST and JOHN tumble onto the ground. The YOUNG MAN and SHERLOCK jump down.

JOHN  
Sherlock, there’s a fire!

 

SHERLOCK  
Yes, that should slow down production.  
Tilly, where’s the car?

TILLY  
(angry)  
I told you; I don’t have it!

SHERLOCK  
Arg! John, keep them here. Stay low.

JOHN  
(whispering)  
Sherlock, here they come!

Members of the gang are looking around. THE MEN don’t see them.

SHERLOCK  
(To the YOUNG MAN and JOHN)  
Carry him. Follow me. Tilly, run.

They run around the building. SHERLOCK stops them and signals for them to stay against the building. We hear a series of small explosions and some windows blow out on the side of the building. SHERLOCK runs to the helicopter in the parking lot. He opens the door and signals to the group. They move quickly toward the helicopter. We see GUS and gang members running from the building. The gang members spot them and run toward them, weapons drawn. GUS is carrying some cases. Others also have cases. SHERLOCK is in the pilot seat and immediately starts the machine. JOHN settles the YOUNG MAN, CHEMIST and TILLY in the back and joins SHERLOCK in front. The gang members are closing in.

JOHN  
This wasn’t built to hold this many.

SHERLOCK  
Then why don’t you volunteer to step off?

More explosions from the lab. SHERLOCK looks down into the parking lot and locks eyes with GUS, who is furious. The men are shooting at the helicopter. The bullets bounce off the door. SHERLOCK and JOHN smile at each other.

 

JOHN and SHERLOCK  
(together, smiling)  
Bulletproof.

SHERLOCK  
Hold on.

The helicopter lifts off as the gang members continue to shoot. They nick the blades and the copter starts to spiral. SHERLOCK manages to control the copter and they get away. The building is ablaze below them.

JOHN  
You can fly a helicopter but you can’t ride a bicycle. Good god.

SHERLOCK  
Could you have rescued us all on your bulletproof bicycle?

SHERLOCK is on the radio contacting the authorities.

CUT TO:

SOMEWHERE IN SPAIN

SHERLOCK, JOHN, TILLY, the YOUNG MAN and the CHEMIST are looking at the website

CHEMIST  
My grandfather was the chemist Manuel Ballester. They knew of Manuel’s reputation as a chemist. They came looking for him, but he’s been dead for years, so they asked me to help them. Here, see, there is another level to the website.  
Death creams.

SHERLOCK  
Yes, I know.

SHERLOCK sits at the computer and hacks into the deeper level of the site.  
POV computer screen. It is basic, just information, no fancy ads.  
SHERLOCK pulls out the thumb drive he took from the old lab and inserts it into the computer. He types SALIGIA as the passcode and the computer screen fills with all his formulas.

SHERLOCK  
The lotion dries on the skin virtually undetectable. The drug kills hours later, long enough for killer to be gone. Or, I imagine, you can have the cream delivered as a gift. It is untraceable back to them. That’s how they killed the Sullivan boys. Knocked them out and lathered them up with enough cream to kill them and dumped the bodies knowing they wouldn’t be traced back to the gang.

CHEMIST  
But you figured it out.

SHERLOCK  
Yes, of course. They were using my formulas.  
(angry)  
Where is their warehouse?

JOHN  
(surprised)  
Sherlock, they used your formulas to create the creams? You created these?

FLASHBACK to(Page 106)JOHN asking “What sick mind would conjure up something like this?” 

SHERLOCK  
Yes. I kept them in the blue binder.  
(seeing JOHN’s shocked face)  
I certainly didn’t create them for this purpose. I was helping my brother, working on a special government funded health project. I was creating a unique drug delivery system for certain patients who resisted taking medication. The project was cancelled. I put the book away in a box under my desk. Obviously someone who knew about the project took the binder.  
Sarcastically to JOHN  
My “cousin” Jimmy.

CHEMIST  
They forced me to decipher them. Many of the formulas were illegible scribblings; very difficult to read.

SHERLCOK reacts to the insult to his handwriting.

CHEMIST  
That’s why they needed me. And why some of the formulas were lethal; I had to keep adjusting the mixtures.

SHERLOCK  
We’ve got to get the inventory back. Where is it?

YOUNG MAN  
We were in it. They kept and shipped the inventory from the old lab, but that burned. We moved what we could salvage to the new site. But they do have a distribution center in London as well. And Galway. But most of it was shipped directly from here.

CUT TO:

INT GATWICK AIRPORT – INCOMING FLIGHTS

GUS enters terminal from plane alone. SHERLOCK and LESTRADE are standing there with plenty of backup, including ANDERSON and DONOVAN, guns drawn. GUS, surprised that he is caught, raises his hands. 

GUS  
A bit of overkill, don’t you think, gentlemen? I’m not armed. Remember, we can’t bring weapons on the plane?

DONOVAN puts him in handcuffs. GUS walks toward SHERLOCK. The team is frisking him while they talk.

SHERLOCK  
Gus, so good to see you again so soon.

GUS  
Where is my man?

INSERT SCENES OF THE INVENTORY STOCKS IN LONDON AND IRELAND BEING RAIDED BY THE POLICE AS GUS’ MAN TELLS ALL.

SHERLOCK  
Oh, your man is fine. He is quite talkative; full of very useful information. Must’ve kissed that Blarney Stone. He’s just having a chat with our excellent detective team over there.

POV the detective team. JOHN is with the team.

GUS  
How could you have known? I told no one.

 

SHERLOCK  
Ah, Gus, you are a shrewd one. Of course you didn’t tell anyone, but you sure left very detailed messages.  
Who speaks Irish anymore? Certainly nobody in England, right? Here you had your own private language, your own coding system in the underground and plenty of expendable test animals. Who would ever suspect?  
But you couldn’t have anticipated that one brilliant man could break your code; understand your language; warn the others.  
And you killed him for it. He found out what you were doing. As desperate as he was for drugs, he couldn’t let you kill all those innocent people.  
And you couldn’t chance him going to the police.

GUS  
He was too clever by half. He had no business butting into mine. He got what he deserved.

SHERLOCK  
(trying to contain his hatred of him)  
Looks like your luck just ran out.  
SHERLOCK holds up the amulet (4-leaf clover).  
Looking for this, Gus? Your lucky charm?

GUS  
Where did you get that?  
GUS tries to reach for his neck, but he can’t. He realizes his amulet is gone.  
Ah, yes. I’ll take that.

SHERLOCK  
Holding the amulet up in front of GUS’ face.  
Of course, here you go.

SHERLOCK drops the amulet on the floor and crushes it with his shoe. GUS looks pained.

SHERLOCK  
Oops. Oh, what a shame. That certainly doesn’t bode well for you, does it, Gus? And you could use some luck where you are going. Maybe you’ll get lucky and find a clover field in the prison yard.  
I hear Big Gus is so looking forward to catching up with you.

LESTRADE walks over before GUS can respond. SHERLOCK and LESTRADE walk a few feet away.

LESTRADE  
Sherlock, I think this is it. We’ll take him in. Do you want to meet in my office later?

SHERLOCK  
Detective Inspector, I trust you can get all of this squared away. I’ll stop in tomorrow.  
(to JOHN)  
Ready, John?  
(to GUS)  
Ta ta for now!  
Ná lig dóibh siúd buachaillí ag Woodhill garbh tú suas i bhfad ró.  
(subtitles: Don't let those Woodhill boys rough you too much.)

SHERLOCK and JOHN turn to leave. GUS is surprised to hear SHERLOCK speak Irish. He sneers at him.

GUS  
(as he is ushered away he shouts)  
Ní hé seo os a chionn, Sherlock Holmes.  
(subtitles: This isn’t over, Sherlock Holmes.)

CUT TO:

JOHN AND SHERLOCK WALKING TOWARD 221B

SHERLOCK  
I discovered his Achilles’ heel. I saw that he was superstitious. He keeps a rabbit foot. I figured I could manipulate him using his fears. I let that bird loose in the lab to see his reaction. It can be a bad omen for the superstitious. Did you see how unnerved he got while we boxed? I knocked his rabbit foot off him. It put him off his game.  
He came back to London because he couldn’t go back to Ireland without his special amulet. He was planning to sneak back to Galway once he reclaimed it.

JOHN  
You stole his amulet?! What, the rabbit foot?

 

SHERLOCK  
A clover.

JOHN  
A clover? He risked his life to get back a clover? That is a superstitious, and very stupid, fellow.

SHERLOCK  
A four-leaf clover, John. Very special. He found it on the day his Uncle Gus shot him and killed his father. He believes it saved his life. However, the rules of an amulet – for those who are superstitious - are that you must always have it with you, you cannot pass it on to another owner and never should you show it to anyone. I saw it when we were boxing. He keeps it around his neck. I pilfered it when I knocked him out.  
I knew he’d have to come back here to reclaim it. He believes that, without it, he would have no luck for the rest of his life.

JOHN  
Well, a lot of good that did him. He’s on his way to prison for a long time. Not very good luck.

SHERLOCK  
Even bad luck is better than no luck at all.

CUT TO:

INT GATWICK AIRPORT

Final goodbye scene between TILLY and SHERLOCK. They are nearing TILLY’s departure gate.

TILLY  
I’ll send you the article when it’s published. I’ve got lots of material to work with, so it might be awhile.

SHERLOCK  
Good writing is worth the wait.

TILLY drapes her arms around SHERLOCK’s neck.

TILLY  
Seo a dom, agus anseo tá a thabhairt duit,  
Agus anseo chun grá agus gáire-  
Feicfidh mé a bheith fíor chomh fada agus tú,  
Agus ní amháin nóiméad tar éis.  
(subtitles: Here's to me, and here's to you, and here's to love and laughter. I'll be true as long as you, and not one moment after.)

SHERLOCK  
I have no idea what that means.

TILLY  
Miss me?

SHERLOCK  
Looking to the ground, avoiding eye contact.  
I’ll try.

TILLY  
You will. Remember, you promised to come see me in Boston. Bring John. He’s cute.

TILLY musses SHERLOCK’s hair. He pushes her hand away. They smile. And off she goes. SHERLOCK watches her walk away.

CUT TO:

INT HM PRISON WOODHILL

GUS is being escorted into prison. Two GUARDS are shackled to him. The gate opens and one of the GUARDS unlocks them and shackles him to a NEW GUARD.

NEW GUARD  
Thank you men. I’ll take it from here.  
The GUARDS tip their hats to him and leave.

The GUARDS are out of sight.

NEW GUARD  
Welcome home Gus.

GUS  
Brendan, cé go bhfuil an teaghlach?  
(subtitles: Brendan, how is the family?)

NEW GUARD  
Grand. I’ll tell the missus you were asking.  
We’ve got your room fixed up nice for you.

NEW GUARD opens the door to GUS’ cell. They step inside.

NEW GUARD  
It’s not much, but we tried to make it comfortable.  
An raibh siad a choinneáil do phóca?  
(subtitles: Did they keep your mobile?)

GUS  
They did. I’ll need one.

NEW GUARD  
(handing GUS a new mobile)  
I’ve got one for you right here. Big Gus is asking for you.

GUS  
Examining the new mobile.  
I bet he missed me. Can you give this to my uncle?  
GUS hands the guard a very small box.  
Just a little gift showing him no hard feelings.  
Tell him I’ll stop by later.  
Any chance of getting a bowl of Champ?

NEW GUARD  
As you wish, Gus.

As the guard leaves, GUS carefully removes his gloves and throws them in the garbage. He smiles a sinister smile.

CUT TO:

INT 221B PARLOR – LATE EVENING

JOHN and SHERLOCK dressed in their street clothes.  
JOHN is sitting cross-legged on the floor in the parlor polishing his shoes. He has several pairs out. Two pairs are done and sitting on the table near the couch. 

There is a small tray of treats and a glass of wine on the table. 

There is a small square mailed package on the table also.

SHERLOCK, barefoot, walks into the parlor with a pair of his own shoes in his hands and waves them in front of JOHN. They exchange “what?” and “please do this for me?” looks.  
JOHN nods “fine” and SHERLOCK sets the pair down on the floor. He pulls a second pair from behind his back and sets them down too. JOHN looks at the additional pair and then at SHERLOCK. SHERLOCK gives a big smile and mouths “thank you” and then turns, picks up a newspaper and relaxes on the couch reading it. 

SHERLOCK has the paper open, reading an inside page.  
We can see a smaller headline on the lower front page of the paper: Gus Haggerty Dead. Godfather Of Notorious Irish Mafia Succumbs To Drug Overdose. 

SHERLOCK  
Well, it seems the Haggerty reunion at Woodhill prison didn’t go well. Good job they are taking care of their own.

JOHN  
Did Gus send his uncle a special gift from his exclusive web club?

SHERLOCK  
One would assume. A guard died as well. He’s just as dangerous incarcerated.

SHERLOCK folds the paper, sets it down and leans forward on the couch. JOHN spits on SHERLOCK’s shoe and rubs it with the cloth.

SHERLOCK  
What are you doing?

JOHN  
What?

SHERLOCK  
(disgusted and curious)  
You spit on my shoe.

JOHN  
Spit and polish. You’ve never done that?

SHERLOCK  
Spit?

JOHN  
You could polish your own shoes.

SHERLOCK picks up the small package from off the table.

SHERLOCK  
What’s this?

JOHN  
I don’t know. Mrs Hudson brought it up. It’s addressed to you.

SHERLOCK picks up the package. He examines it closely. The return label is unreadable. He stands and gets a small box cutter and carefully examines the box. He opens the box. He pushes the packing chips away.  
POV looking into the box: There are two gift-wrapped boxes inside; one is written “Dear John”, the other “To my darling Sherlock”. The note says “Le do shláinte! Congratulations on a job well done. A fan.”

SHERLOCK is on the phone. 

SHERLOCK  
Lestrade, I’ve received a gift from our favorite mobster. Can you send your bomb squad over here to remove it?

JOHN looks at SHERLOCK shocked. SHERLOCK hangs up the mobile.

SHERLOCK  
Gus sent us a little thank you gift for capturing him.

SHERLOCK gets a text. He reads it and types back.

SHERLOCK  
She’s home.

JOHN  
Who, Tilly? Is she safely back in America?

SHERLOCK  
Hmm.

JOHN  
How are you feeling about that? Will she be coming back anytime soon?

SHERLOCK  
(sarcastically)  
We should be so blessed.

JOHN  
She is quite a beautiful handful, isn’t she? Well, you two seem to enjoy each other’s company.

SHERLOCK  
Don’t be stupid, John. She is the most annoying woman I know.

JOHN  
You say that about Molly.

SHERLOCK  
And I am not lying.  
(Picks up a treat from the plate and takes a bite)  
Did Maggie make these?

SHERLOCK picks up the blue binder and walks over to the fireplace. He sits on the floor and pulls the pages from the binder a few at a time and burns them in the fireplace while he continues the conversation with JOHN.

JOHN  
Good eh? She’s loving Jamie Oliver. She calls them Banana tarte Tatin. She made them for our writer’s workshop. These were left over.

SHERLOCK  
Learn any new blogging tips?

JOHN  
Are you jealous that your mum and I hang out?

SHERLOCK  
Don’t be ridiculous. The more time you spend with her, the less I have to.

JOHN puts the last pair of polished shoes on the table. He puts the shoe polish kit aside and stands. He gathers his shoes in his arms.

JOHN  
Well, this has been a very long day. Do you think you can handle the bomb squad on your own? Do you really think it’s a bomb?  
Perhaps we should get Mrs. Hudson and leave?

SHERLOCK  
Don’t be silly; if it’s a bomb, it’s a little one. Just big enough to kill me. No timer. It’s probably set to go off when opened. But judging by the way Big Gus died, the package could be covered in lethal creams. Either way, I’m not taking chances. Lestrade can deal with it.

JOHN  
Well then, I’ll be upstairs. Good night.

SHERLOCK is left alone in the parlor. He puts the now empty blue binder on his desk as he picks up the drawing he did of GEOFFREY and looks at it. He sits back in his chair and closes his eyes.  
SHERLOCK gets a text.

POV Phone text.  
Caller blocked.  
“This isn’t over Holmes. You and your gnome friend are in my sights.”

SHERLOCK looks blankly ahead and closes his eyes again.  
Lights from the bomb squad vehicle flash outside the window.  
The doorbell rings.

THE END?

Thank you for reading.  
I hope you enjoyed my little procrastination piece.  
Please let me know your thoughts/opinion.

Many, many thanks to my daughter SlaneyRose, who taught me one or two thousand ways to improve the story and for helping me turn my narrative ramblings into a coherent story. I couldn’t have done it without you. Much love.  
Now, back to my book.  
Kate

Kate Hall Jordan  
81 Ledgelawn Ave  
Bar Harbor, Maine 04609

00 1 (207) 266-7282 (cell) 

00 1 (207) 288-9680 (home)  
kate@jordanfamily.org (home) 

00 1 (207) 288-6092 (work)  
kate.jordan@jax.org (work)


End file.
